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IUIiJy Av"nuelorct:nEC1ASt'lla=7<129<iOCO V!~i LYLww.Iormatlon oontalned In tI1iS rna(j9ZIOe Is for Information "">I ana O12.nO Wole.. Tim OlJv:er. "".9 Mardi Printed In lhe UK IJYWlUlam Gibb:.l~bol: FUTRI. 2 WF\.music. Ridlard Mason rtcrerdmascmgtunnenetccm UUNSING He.rnmoUith5treet Bath.lnd!ding jcensed edHiorE world'MdE' and in any phySical or digital format i. as we: are aware. C3wkwelLOW6 Rarida~ Da\. Wanna join them? Stow your preconceptions in the studio cupboard and turn to p24..dubster.44IDI1225 ....tis. AOVEI~l!sn>lG.. ctlarIO(.Dr6 Pubfisl'ling:and Its r...I. Ronan Macdonald Editor reproduced Wltt'lOUi ltIe 'M1(ten permission of the t)Jblist'lef...(o. otrorn well e managed<..n.fw. 1T1Qg:i2inemay be Future From The Beatles to Lady Gaga.etrom Art Edlto"SIJJorl RoiJ. itltllOOgh care is 9.h.ertffledfQ~try endcnlcnne-tree manuMcture..thl reserved No osrt 0= ttl. As this issue's cover feature sets out to prove.ornatically grant fUtLl~€.~> Bath BAI23W. ~<les arod. a liCenO? to rebecca CI RCUlATION Trade Marketing Mano"!ger: Verity Cooke.tdLf!e@fu . and a Dual-Layer DVD·ROM packed with exc Iusive softwa re and samp les.:lke GrtuJ:pSentof Edito..JI~e.o. at leastthat pop music is essentially mindless and easy to produce. Ben R~an ~ob Bo1lard Andv Janes.<1422<14 la. pop has (almost) always been at th. u nb las ed reviews of the Iatest products.rl of InternaUonal U~·n$lng~ Tim Hudson. 'mag ar in"".. Reuben Comell ozowen Alex EDITORIAL Ed rt<>n Ronan MaWonald.IlStIVOUP30brrHS'5l0n in whole or in part in all editions of the tmanuiacturers end ret~lIlers dJrecUy Wlth regard to servees referred to in (his\E!n@\J.E.•..''00)$. however.hudson@futurenett::om Tela • 44 (0)123 442244 F. Volumes 12 and3 for iPhone and iPodtouch free in the App Store nQw! web:! 'W\i!.. hip-hop and even DnBinto its deceptively intricate "Stow your tapestry.lhroughout the NEXT ISSUE ON SA1_E. weaving styles as varied as dance music. Wmiams. both influencing and influenced by other genres of the time.162 MARCH 2011 suture Publishing Ltd. Publi5tl3ng regi5teled ~ as rar LImL"d (o. Most pop music is ephemeral In nature.twentvsnangmnneretcom Production Ma nager~ ~ose GrftfithS.Le 5p mg Ngn--ex-ec. BA12BW Get Computer T.r:JuliE' Tcllev S-cnlor Art Edllor= Rooney Di\.a.iWBl in the UK by Seymour Di5lrIDutton Ll~. 30 Mcnrrsauln MARKUING C.10120 7042MlOOiLoMonl T"I. ~ Future Publi5t1irig Limited 2010.IE'e.. Vf'Ii. 44 (0)1225 732275 ruTURE PUBLIS III NG lIMrfED pubtjshen Rollld5L rob.fut U~ W~ntto work klr Future? net ..CDrrI Chief Exe<utive. correc t at ~ time of going to press.caoke@iutureneLcom Pili NT 6. "round the _rld.tal)ef stll'~l. for IossOf damage. frances.zine. pop is perhaps more varied than ever before.(omputermuslc.JbmU is taken neither FutLrre nor its etrlt)fQo{F.hodges@futurellelcom o_g""€f"i:E:1.". to 'IOco"nl no.nts aM 'W""'pol1 or Ii""nile Ollr pu bUcooon. Ieonstepllen9@futurenet. n Peul Taylor Ha""'" Ma""'ntooh II Iustr.cant.I.among those cupboard" who haven't tried it. recti Music: Make Music Now. Fu ture pk is 21 P ub1 ic company QU Ol~d on Lhe London SlOck ao E.. All rtgtllS used Of ENJOY THE ISSUE ...dove@fuwrenet.ful~ I. rg. ('44) (0) 1604 2510<15 Sub$cf1be on nncsn WINW'.i9. Headers are actvlsed to trx cont.{ rnaterlaf ~ l/'OU sent at your rislk€tCOm Head otproductton.comli cbs Future produ.mag iNW.aOjreatOOlnson@futorenel-OOYI CONT.myfavou~iten--.li6r.John Bowman Tel <4\ .oorn UK Chief Exe-c:uUve: MiiW Wocd SU ll5Cliti mONS Phone OLEr UK h otHne on: UK: 0844 848 2852 (Ners"eo.. WWJJ_fulure pk .:utlVe Ckiii~l'!: Ho~er Parry Gro~ Fln.atlcrnd..ate!i bf!!cutl"ve~ Leon Stephens.te. rooe. Future carmotaccept arw Il:"SI)OnSibi11tY errors or inaccuracies In SU(flll. Those polished.cton MatitJew Williams Ed ttortat Dlrecton Jim Douglas.Joggon@fulur"""..agentsr suboonaactors 5h~ o belial.lforrnatiO[1. es ca".e.1a5t@fulurenetccrn PUblishing Drrector:: Mia Waftef_ rn. clare.tdnl@ulurenetmm Ed music / editor's intro < ISSUE...So({ S" es and :r:rID~ events [af people with a passion.F'l." 0I22S 732275 Emait:computermusle®futurenet. Today. Al ".1 "'''9.Jns on IJeIl.mOe< 2D08885) fs '¥lered onEngland .l...c:om Productlon Edl!(l~ Dity Foster.. ret.RIBlITORS welcome Jon Roger ~ Palmer.J:ri~". tim. iv1arch 2011 ! twltter. roron. technical Q&As.. Pratten. "~OD U(. The nee of Future Publi5hing um~ ee t Beauford Court. W~arec'Ommlt~toonlv using m. IIIIII independenUy-certified'in ecconrancewlththerules cftheFS('(ForesL StewardshipCounril)_ www. R&B.lno...e cutting edge of music technology and production technique. we bring you step-by-step tutorials on all aspects of software-based music production. that simply couldn't be further from the you 9Jbrrllit unsojcted the price maeret of products! Jiit#3ni&dtitii Our goal is to help to . you can't deny its current diversity.Imp':llg" proraotrens Marketing Executiver Mana. larger-than-life chart-toppers are put together to the very highest standards by incredibly of Future you create great music with your PC aut.du-Ca. Srev. but that doesn't mean it's in any way compromised in terms of production quality. 30 Mo.~ Oeiiltive mrectcn Robin Abbolt Design Oi. tirI.CmSpeclaJs~Andrea Ilo:blnS(!(l. culturally aware producers who know exactly which musical and lyrical buttons to push in order to turn their listeners on and get under their skin.facebook.T·IO N production Coo:rdlnatof: FrancesTIHentymall..Jmpony. "'_ Lara Jaggon.tuartr. lOur pl!lrttfclID il"lo[1url. 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then rearrange them any way vou like Intrigued? You should be.. especially when it comes to music production 48_ PRODUCER MASTERCLAsS Serial rernxsrs Tile Nextmen talk funk 81 THE EASY GUIDE Delve into the blues with minor jazz progressions 84_sOUND ESSENTIALs Scot Solida·sgone all 805 why not join him? 122_CmFOCUs Think past wailing guitars and focus on Fatbeats with SO_TOTALLY TRAC K ERs Using effects commands 82 OFFTHE DIAL Control the mind with brain entrainment signals 1l6_Q&A Readers·production problems solved We reveal clever wavsto L1!5e dlslorllon subll. 86 THECm ~INTERVIEW Nu"skool breakbeat pioneer Tipper makes his tracks in the jungle . on page 122 .." 7S_ALL THESMALL THINGS Big isn't always better..and that's not the most surprising thing..53 KEEPINGITREAL Make pluQ"ins sound like the real thing with these programming tricks 53_SOFTWARE XOX-BOX REVIVAL 68~GOINGWITH THE GRAIN We explore the top emulations for classic genre-defining Roland sounds Break a sound into hundreds of bits..

Yuml is a _cmSTUDIO SESSION It·s a full-on plug-in orgy as we persuade ZebraCM.muslcradar. check out the eM Beginners folder on the DVD . Tone2 ElectraX and Uttle Endian SpeclrumWorx 2 a Get your vocals sounding sweet with this complete production toolkit 96_ WALDORF PPG WAVE3.a library of material put together to help you get your head around many basic computer music concepts 19_ SUBSCRIBE 115_ BACK ISSUES 130_ NEXT ISSUE March 2011 I COMPUTER MUS. Vengeance·Sound have provided a special eM edition of their new plug·in Philla XL. plus Togu Audio Line" The No. We explain how to get started 98_TONE2ELECTRAX A powerfuldo-it-all synth with an insane number of synthesis methods 108_ MINI REVIEWS Round-up of sample packs. Madrona Labs Aallo. this emulation gets updated.. SYNAPSE AUDIO DUNE SOlid synth muscle with polished sound We·re lilter·happy this issue.1website for musicians CONTENTS 7. CompressiveCM and ReverberateCM to work together to create oddball sounds READER MUSIC Essential em 6 8 12 INBOX NEWS THEBURNING QUESTION 18 FREEWARE NEWS We goall Simon Cowell on four reader demos PDF GUIDES FOR NEWCOMERS If vou're a rookie. . Was it worth the wait? 106_ UNIVERSAL AUDIO STUDERA800 Analogue tape recording might be dead.v Nearly a decade on.:-Filrer III is also present and correct l04_IZOTOPE NECTAR DEMO SOFTWARE Try before you buy with demos of iZotope Nectar.0GB and get flilerlng! FULL SOFTWARE synapse AUdio relurn to the soft synlh scene with DUne Reviews 94_. Synapse Audio Dune. new a pps a nd much more 100_ MADRONA LABS AAlTO An unusual semimodular synth from a new company 112_cm RECOMMENDS The music-making gear that's knocked our socks off SAMPLES ANDVIDEO Inspired byour pop production guide] Then get cracking with 1996 24-bit pop samples Plus. party-heads The Nextmen give us a glimpse of what th ey get up to in the studiO 102 VENGEANGESOUND PHILTA XL A tasty filter plug-in that must for hungry dance overlords. but you can still have its phat sound PHIL'TACM Vengeance-Sound have given us a corker with Philla CM.IC I 5 .

I've been a su bscri ber now for th ree yea rs and I've loved every Issue. and as good as it is to see developers putting more creatlve tools in the hands of WOUld-beproducers. To me. Mr R's was the third letter of the month where yo u just brus hed off sorneone's opinions (see also the letters on backup and piracy). I'm not sure where your accusation of impartiality comes from. As someone who has spent days repatching synths in an effort to get just the right sound. I wondered how much of this analogue warmth he really found pleasurable and how 6 ! COMPUTER MUSIC! Ivlarch2011 . a lot of workarounds are "cl unkv". Menus are IntUitIve and icons more 'global'. the stems for a Bob Marley track. is a fully realised touchscreen platform that's quickly established itself as an important part of the computer musk universe. And being a little less dismissive of your readers would be lovely. as part of a notation asslqnment at university. throw that one over here. at thIs point. onar X1 S is an amazing. particu larlv with the new Pro Channel. iOS is stili very much a 'secondary' element of the magazine. given that. While reading your Super synth me feature memiso. but simply stating that there isn't really any scope for serIous editorIal coverage of them. Does someone there need a hug? Mike Jackson I wasn't dismissing touchscreen PCsin my response to Mr Renberg. Sonar Xl. Manchester :11 ) 'U 1 I. And this is before we get to the synths. There are available gadgets that allow recording on the flY using touchscreen tech and as such have the spectrum of plug-Ins and DAW software available to them. You get the Idea. You can put this w.It became an almost annoying distraction and something that I would view today as unwanted in a recording. One of my classmates noted that the hum of what we assumed was a reelto-reel tape recorder on one of the recordings gave the track a "lovely analogue warmth". Maybe Xl cou ld be a really serious contender lor a bigger slice of the European DAW cake(walk)! (Sorrv) Malcolm Wifllamscm. which are Message of the month I was spurred Into actlon by your offhand response to Mr Renberg's point about touchscreen operation (cm160). RM Piece of cake Regarding your excellent article on the new Sonar Xl (cmI60). Is wllhout doubt Cakewalk's finest effort yet II certainly COUld. while ignoring the already available tech such as other tablet pes. on the other hand. but as a flick through any recent Issue will reveal. As GUIs go (and I know many).hatevery PC musician needs to try. You're skirting dangerously into Apple Fanboy territory with your insistence on cramming in more and more iApps each month. I'd like to applaud you r magazine. I began to wonder what exactly 'analogue warmth' really is. It looks smart. After a bit 01 research into XI (and reading the em feature). I would rather see you being impartial and retaining some semblance of journaHstic integrity than turn into drooling sycophants the minute someone brings out a 909 app. this is probably the most customtsable. You were a little closed-minded in your response. it looks professional. this wasn't the case . As nice as Apple apps are. I decided to go out on a limb and purchase a copy.then save it as a reference screen. RM A question of taste First of all. beautifully designed DAW t. Here's hoping Cakewalk release a demo version soon. as xi seems to be the real deal. and it has an air of heritage. The GUI is just a joy to work with. they're essentially Windows PCswith poorly supported touchscreen operation bolted on. The software does seem to tick most of the boxes for being a one-stop solution. but someti mes just what's needed.> reader emaHs share your views.lcradar:com- Want to air your opinion? Catch us at I was given. down a bit up a bit . and both have grown up in the digital era. visit To mus. 105 (and Android.indow there. of course). Recently. and your comment about "clunkv workarounds" doesn't sound like the sort of computer musician I've ever met. I would almost certa inl y reoreeo rd the part As my classmate and I are both in our early 20s. This turned out to be a tlrst-class decision. and the fact that the ACT feature makes all my twlddlers and sliders a doddle to sync.

say. that is a compend ium of articles that I've already received in my monthly subscription? Why can't I simply order special editions online according to my interest? DF Tweedle. Specials are already available for order online al w_. Denmark With no processing (plug-ins. Whether the inspiration behind their invenllon is nostalgia or oommerclallnterest. resulting In a better mix (or at least resulling in making a good mix easier to achieve). sonically 'colouring' mixers. etc) applied and equivalent settings such as pan law.1 actually believe them? Krist/an Nielsen. £. tape saturation and so on. USA Indlvidualcm. Koent Analogue warmth comes from physical sources such as the recent Producers. timestretching. RM Sound wars There is a question that has been on my mind for quite a you can indeed buy only the ones you want. it led me to think: Are the analogue plug Ins we use today really faithful recreations of hardware from a bygone era. should a full subscription not appeal. I've heard that some DAWs have better sound engines than others. should I actually believe them?' Intended to be faithful recreations of old hardware. meanwhile. as you say. While you may think that the issue of learned behaviour would be more suited to a different publication.after all. I've beenan Ableton user fa r fou r yea rs. Electrical interferenoe such as hum isn't classed In tile same category. or are they the sonic result of the developers nostalgia? OJ BMC. it's all about 1s and right? I can go with the fact that some DAWs might have betler native plug-ins than others.Ktl!il:lan Nielsen wonders whelJ1er It's true that Reason. I've a Iways had the opinion Ihat a digita I render of either a sample or plug-in will be the same from DAW to DAW . RM "When people claim that 'Logic gives my mixes more air'.scondido. RM Special case Iwanted to scream when I saw your announcement about subscribing toem Specials. A few years back. all about Os and 15.mylavourlte magazines. and generally isn't a desirable thing -I'd probably re-record the part too! loday's analogue emulating plug-ins. that I hope you can help me answer. and most fellow Reason producers have been bashed for the Reason 'sound'. And no. LIve andolher DAWs all have lJ1elrown Individual sound much of it was behaviour he had learned from older generations of music producers who had real experience with analogue gear. but I've sta rted 10 wonder if switching to. "Logic automatically gives my mixes more air and made Ihe treble way more pleasant". . are certainly becauseOAWs like Logic and Pro Tools haVe a better 'sound engine'. Logic would end up giving my tracks a better sou nd. all will render audio from the same source at any given bit·depth and sample rate identically. but when people claim that. shou Id . It is. EQ. or to an edition. I was a Reason user. not injoy! Why wou Id I want to subscribe to an edition about a piece of software I don't own.

with Its library featuring 1. A new "straightforward and intelligent" transientdetection a Igorlthm picks out the hits across multiple tracks.including 2SIegacy effects from HAlion 3 and four new distortion modes . The RND Portico 5033 EQ has five bands of fully parametric filters. release and gain controls. Steinberg suggest that you could have a chord with d ilferent filter sweeps on each note. loopM'ash has bsen updated to version 2. improved Quick Control asslunrnent.visit To NEW RELEASES ~COMMENT >INDUSTRY HAPPENINGS Steinbe g Cubase 6 A major update to a classic DAW. On the recording front. ratio. We were sort of expecting Cubase 6 at NAMM'. More effects . Making this possible is VCM (Virtual Circuitry Modelling) technology from Yamaha. which allows for controller data to work polyphonically. but the announcement of Steinberg's new Rupert Neve Designs Portico EQ and Compressor pluq-lns was more of a surprise. You can get your hands on Cubase 6 right now for £50S. controller lanes. and scaling tools for controller and automation data. Cubase is now compatible with 64·bit as x.lg hi: New for tubase 6 are LoopMash v2. On the instruments front. Upgrade.5. if you have a note with pitchbend at the start. You can then quantlse the audlo (whi lst preserving phase coherency) and even convert the detected hltpolnts to MI 01. The Rupert Neve Designs plug-ins will be available for Windows and Mac In VST and AU formats. the pitchbend will move with the note. Under the hood.Steinberg's VSTi workstation .radarcom- share your views. Those more at home with M 101 wi II be interested in the Key Editor's Note ExpreSSion function . a guitar amp and effects suite. a Key Editor Inspector that puts functions like transposlnq and quantising within easy reach. each note has its own controller 'clip' that pops up when you select it.2GB of new brass and woodwind instrument programs. each with gain. High· and low-shelf filters plus a trim control and global bypass switch are also on hand. The RND Portico 5043 compressor has threshold.5also offers 64·bit Mac as x support.get It at the Steinberg Site. Those who work with recorded drums will be cheered at the prospect of Cubase 6's new multitrack drum-edltlnq features. and the controller data moves around with the notes. www. There's Track Edit Groups too.has been updated to version 1.instead of using. as well as all-new Neve emulation plug-ins and HALion Sonic 1. Steinberg's parent company. It's a free update . eg. but we'll find out in our review next issue.s are available. other niceties Include a spruced up Interface. with Cubase Artist 6 at £253. Aiming to please grizzled monsters of rock is VST Amp Rack.5 Left to 8 / COMPUTER MUSIC / Ivlarch 2011 . which lets you edit multiple tracks at once . Finally.5. This ties in with VST 3. 16 stomp boxes. Pricing and a release date were yet to be announced as we went to press.stelnberg. for drum-replacement purposes. with feed·forward and feedback modes allowing users to "switch between an aggressive and subtle compression response". Th Is comes with seven amp models. attack.we're not entirely sure how It differs from Folder Tracks or straight·up multiselection. The biggie Is the arrival of version 6 of ubiquitous DAW Cubase. a swlpe·based take c(lmplng system. HAlion Sonic . smooth performance". These "highly sophisticated" VST3/AU effects bring renowned audio gear engineer Rupert Neve's Portico all-analogue hardware units into the digital realm. and VST Amp Racl(. HAlion Sonic 1.mU5IC. six speaker ca binets and two mic types.pius Genera I MIDI sup port bo lste r It fu rther. centre-frequency and Q controls. Cuhase now has a rnultltake camping tool that looks to us like the one in OAWs such as logic and Pro Tools. while tweaks addressing issues such as audio streaming and loading speed should ensure a "consistent. here showing off the mle setup screen > Steinberg took advantage of January's Winter NAMM Show to show off several tantalising releases. So. naturally. there are new timestretching algorithms and global project compatibility is improved.

korg. But as it turns out. as we've got reviews of four of the buggers in this very issue. and when situations like the current svrrtn glut present themselves. such specialist insights could be lost. while I. any problems you shoutd be aware of. For instance. they're "modelled after a MacBook" The nanoPad2 has bumped up Its drum pad count up from 12 to 16. etc. We're sometimes asked why we don't run head-to-head round-ups.em reviews are often asslqned to specific writers because they specialise in a relevant area. metimes IDDk me days ID oreale. and features an "elegant" MI DI control scheme. Stutter Edit is designed to be used live.. Ihe verslDn 2 "anDPad'. If we did shootout-style round-ups. because we'd obviously have to get the same writer to do the lot. filters and noise sweep modules. I don't feel that It wou Id be fair for them to replace our individual. The nanoKey keyboard was the thorn among the roses in the original nanoSeries lineup . as while its 25 velocity-sensitive keys are still in the low-travel laptop style." sayelh BT March 2011 / COMPUTER MUSI. Close to the edit 81's stutter edit trickery encapsulated in a p-p-p-plug-in > IZotope have teamed up with electronic music maestro < opinion < Nano technology Korg release updated versions of their hit nanoSeries Mixdown A synth deluge prompts our Deputy Editor to round up his thoughts on reviews - > Fmm tDP to bDttDm. www.the cheap feel and inconsistent response of the laptop-style keys let it down. we can find au rselves pondering the very same point. www. it's pretty rare to find a product that's not at least good. Stutter Edit slices up audio and sequences the fragments into rhythmic effects tr. patience has rewarded us. which we rated higher overall with a 9/10. the differences between modern music software products are increasingly "We're sometimes asked why we don't run head-to-head rou nd-u ps" subjective. a decade ago when it was obvious that some sou nded and worked much better than others. with Audio Damage Phosphor and Cableguys Curve lined up for next month. the PPG Wave 3V review was handled by a guy who has the real unleash real·time audio manipulation effect stutter Edit.Brian Transeau to his mum . we were having a discussion in thecm offices about how the once fertTle soft synth market seemed to have dried up somewhat. which can control DAWs and other music software..C / 9 . the nanoKontrol2. "aI1Dl(o"trDI and "anDKey. focused reviews.lzotope. First off. Dune might not be as much of a jaw-dropper or as universally useful. the nanoKey2. but it just clicks with me in a way that Electrax doesn't .It's more my kind of svnth There are logistical factors to take into account too. Expect their prices to be in the same ballpark as the original models. the nanoPad2 and the nanokontrolz. our reviews are more about pointing out the pros and cons of a parttcu lar product. For instance. unlike.think our 8/10 rating for Dune is fair. say. While we do dish out scores that reflect how well we think the product will resonate with the majority of users. Stutter Edit is available for PC and Mac in VST. All of the nanoSeries2 untts are USBpowered and just under 13 inches in length. and costs $249. which comprises three units. Users can also calion gate. They IDDk ali-while 10 us! > Production maestros Korg have refreshed their nanoserles line of ultra-slim MIDI controllers. digital distortion. "Three compact and convenient USB MIDI controller models offering serious features" • Korg seem to have addressed this with the nanoKey2. is home to eight faders instead of nine and is said to present a more logical layout for its other knobs and buttons. there's always going to be room for some personal interpretation. "Stutter Edit exlsls because I wanted 10 step on stage and ImprDvlse tf1e rhythmic effe<:tslhal. While round-ups can make sense when presented as a special feature. Lastly. what type of users and genres it's best suited to. AU and 'HAS formats. while the far more contemporary ElectraX was assessed by a professional dance producer by using it on real-world projects. Forthat reason. I do personally prefer It to Electrax.. pan.iggered via MIDI notes. is now able to record gestures on its X-Y pad and features an arpeggiator and chord A few months back.

starting ftom £95. the good old days of computer music! Phosphor features two 16-partial additive oscillators each with their own ampl itude envelope. and actively creating tools lor rnustc-rnaklnq for a decade. new code component functions and a leap forward In host compatibility. but most of the important and groundbreaklng ones are. the noise generator can mimic the alphaSyntauri's digital shiftregister noise or produce pure white noise. Mainly because the convention is Just up the road. Ever. VerSion 2 also sees several less obViOUStweaks such as enhancements to standalone executable support. and little boutique startups like Teenage Engineering have lour square metres of floor space and a constant crowd around them.> news Chris Randall is dazzled by the music gear mdustrv's glitziest trade show. you're not getting elbowed out of the way by someSo-veer-old hair metal sideman. going to the show is an amazing experience. I'd tried to go a few times. I'll say this much: there is a vast difference between reading a II the news feeds of NAMM-related press releases and actually walking the show floor. a good Idea Is worth way more than a good presentation.MM. whi Ie a 'modern' mode provides allasfree sines. which aims to take the hassle out of putting together sample-based creations. Audio Damage have brought the synth into the 21st century with the addition of full velocity control.synthmaker. and full of people you'd rea Ily rather not have anywhere near you. NAMM > Phosphor goes way beyond the original alphaSymau ri by bolting on a btl nch of extra featu res Full of additives An emulation of a forgotten digital synth from the 80s > While I've been working in the music industry for nearly 25 years now. and you have the opportunity to get an explanation of a new product or make a feature request with the man who actually designed the thing. Version 2's biggest new feature is mtlltisample support. but something always got in the way: lamily obligations. Mainly because when you're at home with your R55 reader. Most of these people are drummers.audiodamage. Other changes include an updated. I finally made it. a more extensive modulation routing system. IwithJ the ability to recreate the classic sounds of the early days 01 digital synthesis" It's available in VST/AU formats for PC and Mac and costs $59_ www. on which :::::~~:~~i~~~. and it certainly makes one thoroughly understand that in the muslc-rnaklnq Industry. support for Wiimote input and several new modules "to make life easier". Inc. This year. futuristic booths with nobody in them. blog. "Ires her" GUI. Make you r own synlhs and ·effecls with Synlh Maker's sUckgraphical Interrace If you fancy having a Ch Randall is the co-owner of Audio and proprietor or tne Analog lnoustnes he regulatfy pulls no punches. Gigantic companies like Casio have huge. 5ynthMaker 2 is available for Windows. a relined tl Iter bar. two monophonic modes and two delays with filtering.ear and the software does the talking" South African vuvuzela-wleldinq football crowd blaring in your ear the whole lime. www. Synth Maker 2 > Outsim have updated their Wlndowsonly graphical programming tool SynthMaker. NAMM Is a level playing field where the gear and the software does the "NAMM is a level playing field where the g. Ah. a snowstorm or something 01 that sort. tempo-synced with improvements to Cubase particularly noted by Outsim. But. before this January.I'd never been to NA. and talking to the people that made them. playing with the new instruments and software. Not all music production companies are represented there.t~i~~~Qm "'O'-J'" C> ~ ~ Twltter@Chrls_Randall C""'<n<:>e<e ~ 10 I COMPUTER MUSIC I lvIarch 2011 . and there was almost no way to avoid it. ns Damage. and you don't get the audio equivalent of a Plug-in maniacs Audio Damage have released Phosphor. Similarly. Phosphor is billed as "a much more sophisticated and capable synth than the original. though. Each set 01 partials can emulate the gritty sound 01 the original by running in 'to-tl' mode. a virtual instrument modelled on vintage digital additive synth alphaSyntauri_ The real thing debuted way back In 1980 and consisted of a keyboard and a bunch of cards that you plugged into an equally ancient Apple II computer. despite all of the chaos. which was then used to edit patches via a software editor. NAMM is loud.

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Nitro boosted
PSPAudioware release Nitro sequel N20

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A SunVox update. a tracker DJing program, and a sad farewell to an old friend


N20IeaV<!s N ltro In the d 1151 with lIS modula r multldfect concept

There are GUI improvements, themes and more in the new release of the lightweight·yet-powerful SunVox tracker. This latest version 0.6) adds an OGG Vorbis player and a spectrum analyser. plus multitasking and iTunes sharing for ,iOSdevices. lt's free for download at or you can get It for a few quld on the App Store. Next up is a bra nd-new web toy called ChipdiscoOJ. Written by modest chip wizard Brendan Ratliff (aka Svphus), ChipdiscoDJ is the Traktor for tracker


PSP Audioware build on the concept of their classic multi mode filter Nitro with its successor, the newsemimodular muttleffeet plug·rn N20, which the company bill as offering QUnparalleted flexibility and total sound creation freedom". Features not seen before include new processing modules and extended rnodujatloncapabrlltles, while the internal DSP gubbins have been rewritten from scratch to allow N20 to make the most of modern CPUs. The GUi has also been overhauled. N20 features numerous soundprocessing modules including morphing resonant and formant filters. EQ. delay. reverb, pttcnshltter, compressor/expander, bitcrusher, distortion, full-wave rectifier. Up to four modules can be used at once. with a routing page for connecting them up in a mu ltttude of crafty configurations. You can have four modulatlon sources too, each being an LFO. envelope detector, ADSR

or step sequencer. There are eight assignable knobs (with a MIDI learn option). anda limiter that borrows algorithms from PSP's Slick Xenon pluo-tn, Simplified modulation setup, animated response plots, sidechain input and 192 presets are some of the other goodies you can look forward to. N20 is out now for Windows and as X in VST,AU and RTASformats, with Its price tag coming in at $179. www.pspaudioware.cQ

"With tempo matching, pitchshifting and cue mixing, you can mix tracker tunes to your heart's content"
music. Complete with tempo matching. pitchshifting and cue-mlxlnq, you can mix tracker tunes to your heart's content. More features a re being implemented as we type. and Syphus tells us he's even pia nni ng a web-based tracker! Go here to use or download: crayolon.netlchipdisco. Sadly, the United Trackers website once a meeting place for tracker musicians the world over - is closing down. No explanation has been given.

"With new modules and extended modulation eatures, N20 explore new sonic areas'

fr-063: Magel/an by.Farbrausch Scooping first place at Germany's The Ultimate Me€ting, this production of supreme design. physics/graphics wizardry and funky music from supergroup Farbrausch shows us Just why they remain the demoscene heavyweight champions. Wa rnlnq: Ouad-core CPU high Iy recommended!. The first round of voting for the best demo of 2010 is at awards.scene.arg. with winners announced at The Gathering on 22 April. See lin ks to 2010's top demos plus this month's on theem DVO.


Calling all Reason users! Our brandnewcm Specla/- Reason: The EXpert GuIde - is your secret to making better tracks. Featuring 100% brand spanking new tutorials, the Special is stuffed with in-depth guide.s to Reason 5's top new features, masterctassas that'lI get you working like a pro with any version of Reason., and tips and tricks revealing the methods behind today's cutting-edge sounds. Plus an exclusive ReFill on the ovor If th is sounds like your thing, don't delay - supplies are strictly lim ited. Tu rn to p88 for stockists and on sa Ie dates. or buy one online at the webslte below.

'No demo Is complete wlthoula

bunch 01shiny balls

March 2011 I COMPUTER MUSIC I 11

em / burning question


Could an app store benefit the music software industry?
It's easy to get drawn In by the hyperbole when Apple announce something new, but when it comes to setting trends, their track record is pretty good, So, now that the company have opened their Mac App Store - an as X version of their mobile software marketplace several questions have come to the fore, The most obVious of these is how the Mac App Store will affect the way we buy our musit:maklng software, but It's also worth considering whether it could Influence software design and price. Then there's the potential for it to have a wider Impact: could It pave the way for a portal elsewhere that only contains music software? the ability to reinstall everything on a different machine (the Store knows which apps you own) and an end to fiddly copy protection systems one of the big sticking points Is that, because of the way they install, plug-ins aren't allowed in, Immediately, this means that the Mac App Store can't be a one-stop shop for most as x musicians, and cou Id render it a lrnost Irrelevant for serious producers. However, It might yet lead to the development of a dlifferent type of product.

approved. These rules are mostly aimed at keeping out software that can make a user's system unstable or software that Violates a user's privacy." We're already starting to see examples of this more casual approach - UVI.Grand Piano, for example, is a standalone sam pled piano that's deslqned to appeal to the person who just wants to sit and play rather than record anything. What, though, of the pricing issue? Are Mac App Store prices likely to be comparable to those in the mobile equlva lent? Apple have set the bar pretty low by making GarageBand available for E8.99, but it remains to be seen whether this will be a benchmark figure.

An existing role-model
"On 105 the lower pricing has typically been offset by the potential to reach a larger audience, reduced piracy thanks to Apple's tight control over hardware and software, and the ease of the shopping experience (finally, It Is easier to download an application legally than It is to pirate lt)," explains David Wallin. "However, there have been some reports that the Mac App Store has already been cracked. Also, Apple has left it up to app developers to Implement their own copy protection checks. Combined with the more open nature of OS X, this may mean that it is harder to stop piracy on the Mac than it is on IDS. Hopefully Apple can come up with some tighter controls around thls." So, the Mac App Store isn't going to change the way we buy our software overnight. but could It Inspire someone else to create a musicmaking software-only store? In the Video games world, there is a precedent in the shape of Steam, a download platform run by a company called Valve that sells PC and Mac games direct to customers. It also offers community features. Paul Taylor, a musician who's a developer at Mode 7 games, has good things to say about it.

Make some noise
As White Noise Audio, David Wallin has released both 105 apps and Mac/PC plug-Ins, so he has a foot in both development camps, Like many, he feels that the arrival of the Mac App Store may trigger the creation of more 'hobbyist' musicmaking software. "My guess Is that apps will tend to be more casual, since that's what has succeeded on iDS," says Wallin. "For developers, the benefits are in the Store itself. They get access to a huge audience, their apps are more easily discovered, and they get all the standard shopping cart benefits at no additional cost. This includes things Iike gifting, wish lists, reviews and recommendations, Which shou Id all help sales. End users get extra peace of mind, since there are stricter ru les about what kinds of apps are

"This could render the Mac

The significance of the new store's arriva I has already been hotly debated by bloggers, with one suggesting that it could even encourage developers of Wi ndows rnuslc-rnaklnu software to switch their focus to as X. However, while buying software through the Store has some advantages - easy payment/insta lUng/updating,


~ ;

12 / COMPUTER MUSIC / March 2011

news <

"Valve have established Steam as a key brand, that's probably their greatest triumph," says Taylor. «Every PC gOlmer knows that games on there will have a certain level of quality, and they go straight to Steam to look for new releases. "In terms of the benefits for developers, being on Steam brings your game to a mainstream audience. If you're on that front page, you're getting huge exposure: as I write this, there are well over two million people logged in. Most indle games will rarely have a marketing reach approaching that. "Here at Mode 7, we're shortly to launch Frozen Synapse., which will be our first title on Steam. So far, Valve have been very supportive In terms of discussing how we can best integrate with their systems. There's a lot of secondary stuff like fri.ends lists and achievements that games can utilise." This Is all well and good, but music software is a different (and, it has to be said, a much smaller) kind of business. This being the case, Taylor is cautious when it comes to discussing the vlabl Ii'ly of an app store for music makers. "If a music software developer was to do this, they would need it to be tala Ily compelling,» he says. "They'd have to have a lot of content on there, and they'd need at least one exclusive 'kl Iler app'. At the moment, the slate of buying music software online Is dreadful. Com pantes are still relying on worthless, inane hardwarebased copy protection, which means that some kind of physical component is almost always essential. That needs to go! Secondly, companies need to be more open about selling their content digitally - I can't believe thatl still need to have DVDs shipped to my house in this day and age'" Taylor does concede that some musicians might not be wi Iling to download multi-gigabyte ROMplers, though as he points out. plenty of people torrent massive files, So, there wou Id also bea bandwidth issue to consider.

Ins & outs
OH.MY.GOD. Spectrasonics' Eric Persing wowed NAMM Show-goers with his OMG·1. This one-off mapleencased piece of awesomeness comprises a Moog Little Phatty, two iPod touches, two iPads. an Akal LPK 25 and an Mac mini. Here's some bad 01 DSP platform: the system has products will still though,and customers the

APPHAPPY As you can read to the left, Apple's Mac App Store is now open for business, We're enjoying the free SoundCloud app crt comes with Its own big red recording button), and iDrum (£11.99) is worth a look too, Oh, and Angry Birds, obv,iously,

T-Pain now has his the toy market changing I Am he admits that

RECORD DELIVERY Sony and Universal are finally making new singles available to buy as soon as they're released to radio. The previous system, which saw fans having to walt six weeks before being able to pay for songs that were on constant rotation, obviously only fuelled piracy ...

but are we to think the


Busting jargon ~
When you hear multiple instruments all playing the same note, they're said to be playing In unison. Think ofa violin section all playing the same thing ~ It sounds far lusher than if a single violinist played it because of slight timing/pitch variances from player to player; Many syntheslsers offer a 'unison' feature, and Its origins lie in old monophonic analogue synths. While these synths had only a few oscillators, you could slightly detune them, w.lth the result being a thickef,. fatter sound, As time went on, synthsbecame polyphonic, which meant that chords could be played using a separate 'voI.ce' for each note. However, users stili wanted the monophonic unison mode so it was Implemented as a feature, ganging all the voices together to play the same note at once for a rich tone. Fast-fOliWard to the 90s and. thanks to digital technology (which is less restricted In the number of voices that can be used),lt was possible to play unison patches poIyphonlcall\!, so each note In a chord couklltself be made up of several detunecl voices. Phew! Virtual analoguesynthssuch as Ac.cess's Virus and Roland'sJP-8080 were famous for

Computer music terminology explained. This month: Unison
produdngsome massive sounds and lush pads. These days, unison features on soft synths are commonplace; you're typically able 10 control the amount of delunlng and the panning width for Individual voices. Some synths, such as Synapse's Dune, extend the concept IUrther by enabling you to apply different types of modulation to each unison voice. "the synth you're using doesn't have a unison mode but does haVe two ot" more oscillators, you can mimic the effect by turning on several vokes and detunlng them manuallyuntiJ your overall sound has the requisite amount ollatness.

The perfect storm
"I think if someone could crack all of the factors, they could do something truly amazing and make a lot of money," Taylor concludes. "But it's not an easy proposition - Steam has a very powertul infrastructure behind everything; there are a lot of technical challenges so it would need a large amount of upfront investment. The market for music software isn't anything Iike as large as the games market, so It might be difficult to get hold of the capltal," Setting it up might not be easy or without risk, but in the lone-term, an app store for musicians might work both for developers and rnusklans. As David Wallin paints out, there might even be the potential to access it from within your DAW. "If one of the big·name studio apps were to create a plug-in store integrated into the app, It would be a huge success, Imagl ne if you were working on a song and you could search for a new plug-in instrument or sample pack, buy it and have it download and install itself automatically in the background. It would be far more convenient for musicians than having to mess with folders, credit cards and store accounts for each plug-in developer, etc. It's also better for developers since it makes your offerings discoverable by everyone." Sounds great: now all we need is for someone to go and build. it. em

Synapse Audio's Du ne takes tile unison concept furlt1erwlth vol<:e·spedflc modulation features

March 2011 / COMPUTER MUSIC 113

Making music software Is both art and science. AMD have also Just announced their new Fusion-based Embedded G-Series G:i:i:I What's [mJ Other 14 ! COMPUTER MUSIC! March 2011 . what's planned next Is an overhaul 01 the Toxic FM svnth It only needs a few touches to be ten times better and more capable than it is now. Only lew soft. said to give a boost to applications like media www. a Neve hardware console can offer. Orion 8 offers an improved workflow. Dune 2is in the pipeline. It's perhaps not as creative a task as making music. and there's another secret project I cannot talk about and why was Synapse Audio first formed? Originally it was formed lor Orion. From the current line of synths.arm. with rumours abou nding of the new chip that will power Apple's iOS devices. a technology that offers roughly four times the power of the existing sing Ie-core version.lntel. including how the reception of Orion 8 is. one thing natu rally led to another. is and i7 brand names. m:iJ Some !:!!!t/use them? liIi. I can't tell you ARMEDANDDANGEROUS What was your Inspiral!ion for Dune? Does the music-making world need more synths? It surely needs more quality svnths The vast majority 01 soft svnths sound alike and share the same features.J Most of the of your other synths are quite old now. I was busy finishing my PhD thesis. scheduled for release In Q1of this year.will apparently move to dualcore SGXS43 graphics. Those inspired Dune the most. It became apparent that there was enough interest in those tools to get our own website. yet it is su rprisingly popular sti II. the first purely Virtua I studio for Windows. The next version is just about finished.I There were two reasons. Ihad lost Interest and Inspiration. After the release of some freeware tools and synths in the late 90s (most notably the T5-404 synthesiserJ together with Rasmus Schultz lco-nronrammer. This would make Reline Display-style high pixel density a possibility on the next-gen IPad.. computers featuring AM D's Fusion APU (a combination of CPU and GPU on a single chip) have started to materialise.The new chips still usethe Core 13. The catch is that x86 chipset software won't be compatible with Windows for ARM. much higher them the old stuff (most of which dates back to 2000). Synapse Audio Richard Hoffman Why has Synapse Audio been so In recent years? l. In a nutshell. this can be used in a range of devices from set-top boxes to small form-factor PCs.exciting news for Apple addicts craving a camera-equlppeciIPad. However. of course. say. So. Orion's development is alive and www. Windows' future as a mobile computing platform just got a Whole lot brighter. Elsewhere. When/II It comes to Mac. a better mixer and new instruments and effects. The successor to the A4 chip . The sound quality of the new stuff is much.something as unique as. It depends on many factors. we guess .l. PhotoBooth ancl Camera icons . www. WWW.ln related rumours. thanks to ARM's ability to run an entire OS on a single chip. Orion is alive and kicking' HIGH FIVE Yet more chip news. It will be a lot of work for sure! nextfrom Synapse Audio? than Orion 8. 31n't It? FRESH CHIPS It's been all go on the PC chip front recently.J.and hardware synths offer a unique sound and Innovative features. Pretty.. it is currently Windows only and needs tobe ported to Mac 05 X. but it's still impossible to do without having a certain spark that's a necessity to develop innovative sottware . with Intel showing off their second-generation Intel Core processor mlcro-archltecture at this year's CES. in the future you should be able to find a proper version of Windows in tiny devices.> news System check Weird and wonderful goings~on in the wider world of computing The founder of the company behind the new Dune synth and numerous classics talks to em Gij:I How IJIl A gratuitous 'chip shot' of Intel~'s latest. Ultimately. Do people still old ones have been phased out already. www.AS. whlch always has been a popu lar svnth as well. eet This might not initially sound like big news to those who aren't au fait with the world of chipsets and operating systems. So. you won't be able to run all your favourite Windows software on an ARM-powered. and Microsoft have made clear that they're not going to incorporate an x86 emulation into ARM versions of their For one. developers delving around In the code for the new beta version of iOS have found what are most likely iPad FaceTime. There is a lot going on at Synapse in 2011 lor sure! ::::m Contrary "Contrary to what people think. but believe us: It Is. designer and artlstl. butthey feature major advances over the previous generation including ''advanced vector extensions" (AVXl. my goal is to help the producer shape a unique sound . Mkrosoft have demonstrated a full version ·01 Windows running on an ARM chipset at this year's CES In Las Vegas_ So. Perhaps because it is based on the Junglist. What's happening with Orlan U1ese days? to what most people think. Window-based device unless developers make an ARM-compatible version. which help accelerate certain types of repetitive operations. the Hydra is the oldest. As well as that. second.

dubby echoes. Bilspeek uses voice compression technology to produce "a broad range of Get glitchy with Sony's Blip (£25). Iso Iati on Ist bed s. the pack is stuffed with 1. The biggest new feature. In Iront of the speakers.just flick to p91 for your chance to win a mighty Rob Papen eXplorer bundle! March 2011 / COMPUTER MUSIC /15 . eight pols. alrPad. Hlghlightslncll. drag and drop of patterns into your DAW. 32 vox and FX loops plus S4 drum hits to slot into your recordings. www~focusrite.c.on (£21) contains over 390 shaker loops for hip-hop.. It's a 975M B pack filled with 225 loops and 238 single-shots. Numerology 3 is Standard Is $129. FX atmospheric sounds. reggae.starrlabs. Other additions include choke groups (usefu I for hi-hats).you'll hear the mix as though you were sat in your chosen room. The "pocket-sized" VRM Box offers just a headphone output and SIPDlF digital Input. MicroTonic is as good as new again' ------------------------- raal-tlrne pltch-exclted linear prediction codec. That's the promise. Version 3 features a host of new functions. The busy bees at Sonic Charge have also released Bitspeek. Comprising 35 construction kits plus extra drum loops and piano/guitar phrases.3GBof IN THE AIR TONIGHT Starr labs have announced a wireless MIDI controller. positive and organic funk" vibe. flvel2. Built to control Ableton Live. which features 567MB of "punchy drum hits. Bitspeek Is available In VST/AU formats for PC and Mac and It costs $35. With all samples at 128bpm.samplemaglc. Mutekki Media's Abstract and Weird (£17) pack provides "abstract. is that it now works as all AU plug-in as well as a standalone app. It analyses audio. Diginoiz's Triple Shaker Sensati.nth Mkrolonlc has several new featIJres to help make your percussion programming easle r and more e>«:ltlng "Sporting over 20 new features and a brand new look. the compact unit has 16 programmable lED-illuminated touchsensitive pads. bass and FX patches to "ignite your music". Mlcro1ionic Is available for Windows and Mac in VST and AU formats. www. The Paradise Sessions: Soulful latin & lounge House (£61). to be precise. Iwww. This one is an effect . pitch bend support for transposing patterns in real time. including a Morph sUder that allows you to "interpolate all eight drum patches simultaneously between two end-points". a Humanise function and audio and MIDI recording ror every part. 44 "melodic inspiration lines" (music loops). extracts parameters such as pitch and volume and then resynthesises it using an oscillator.lde new generative sequencing options. while the Pro edition Is $199. Focusrite's new USB audio Interrace could be of Interest. with each proVided at 85. crazy and out of the ordinary sounds" that you could use as "accornparwinq" loops. House/techno heads will appreciate Paolo Mojo Future-Tech House (£30). nasty bass one shots and a nice range of pad sand rl sers".a > Sonic recharge News in brief NUMEROTRES Five12 have updated their novel sequencing and plug-In environment Numerology. It's home to over 800 24-blt samples that will give your dub. and strap on your headphones . electroa co usti c eve n Is. a preset playlist. containing all of the company's effects. though . Duband reggae producers should check out Prince Fatty CruCial Dub (£35). pick a model of monItor speakes. anyway. 90 and 95bpm.loopmastet"S. Well done. MIXING IN THE BOX If you've no other choice but to mix on headphones. COMPETITION WINNERS Incm160. field recordings and.h contains "minimal glitches.that's Micro Tonic in non-geek speak. It costs £80. the pack provides 170+ "tloor-rocklnq" drum loops. laidback grooves" will be interested in Zero"G's latest sample > Ver$lon 3 01drum sy. The seiling point Is the VRM (Virtual Reference Monitoring) technology: select a mixing space (living room. We can now reveal lhal the lucky winners are Simon Nicola and Keith Blackaby. etd. 25 bass < Plug-In pushers Sonic Charge have issued an update to drum synth pTonic .com Anyone looking for "funkv. plus 50 svntn. more". an X-V pad and four-way navigation control buUons. Utah Saints have hopped into bed with Loopmasters to produce Utah Saints: Electro House andlndieDance (£35). roots and dubstep tracks that "upbeat. whic. all! Don't be too downhearted if you didn't win. our competition gave you the chance to win a MeldaProduction Total Bundle. and a sleek new interface. It costs $119. one-shots or whatever you fancy. an 'Edit aUchannels' button 'or global parameter adjustments and also MIDI Program Change support. from cheap speaking toys to high-end vocoder and talk box effects". a Matrix editor for editing the pattern steps of all the patches at once. In sl rnpler terms. drum. noise and filter arrangement. urban and pop productions.1I can broadcast MIDI avel' a range of up to 3DDIt Pricing and availability were unconllnned at the time 01 going to press. There are 471MB of 16-bit samples ranging from birds and camera sounds to ambient lbells. however. Dubstep dandy High Rankin has lent his sounds to High Rankin Dubstep Tearout (£25).

Undo.theyve eye n got Fender on board for thelr lalest effo. These can be uploaded directly to Sound's an app that brings the company's tube amp model Iing skills to the iPhone. VolceJam Is a Universal app for IPhone. things sound cool with just a couple of pulse waves. Virt and Norrin Radd. It costs £2. My main method Is to Jam some stuff out on my acoustic guitar and then use the open-source OpenMPT to program the notes in individually. aka Leonard J Paul.we thoroughly recommend checking it out at www. you can capture complete songs. It's a really challenging thing to try to make.larn doesn't boost anv effects.99. Overdrive and Noise Filter) from the famous guitar company: mix and match them to create the tone you're looking for. There's a mixtape on the site to download . IK MulUmedla are dearly serlous abo L11 lOS apps . It's a no-nonsense affair. '59 Bassman LTD and Pro Junior) and six stompboxes (Fender Tape Echo. l've been Blops. three cabs. It's essentially a pastiche of almost every NESgame you can think of. and Gain. '65 Twin Reverb. « We'd like to give full props to Brian for putting In so much effort to organise such a great soundtrack. a triangle wave. so irs fitting that the soundtrack should be comprised of a huge variety of chlptune offerings from artists like Freaky DNA.5tudiodevil. so when the company announced that they were releasing an iOS app.l www. beeps and bloops abound In the chlp·fuelled soundtrack for RefrO City Rampage. iPod touch and iPad and costs £2. framed in a complex Grand Tnett Auto 7-style extravaganza" a noise channel plus a really lo-f sampled sound channel.imenting with different ideas and trying out different styles in the NES Fender Phaser. Compressor. Fender Blender.slot looper that enables you to record your vocal (or other) ideas. iPod touch and iPad. Bass. 11'5bleepl n' brlliia ntl 16 I COMPUTER MUSIC I March 2011 . and using the Performance Recorder. Super-Sonic. Volce. blips. but it does feature a stx.com_ If you're feeling Inspired. Treble and Level knobs.99. framed in a hugely complex Gfand Theft Auto '-style extravaganza.retrocltyrampage. Lay down voc. reverse and 'double' features are included. there was always going to be a lot of interest. AmpliTube Fender for IPhone andiPodtouch should be avai lable by the time you read this priced at $14_99 Staying on the guitar theme. oddly. Freaky DNA. IK have also revealed that that they're working with other guitar amp manufacturers to create more Macl PCand 105 AmpliTube apps in the future. speaks a little about his work on the Retro City Rampage site: "For IK Mu Itimedia hove expanded their AmpliTube iOS range by announcing a dedicated Fender version. This contains five amp models ('65 Deluxe Reverb.11 xperience many e different parodies of classic titles.> news Irs time for moreindie gaming goodness as we take a look at a forthcoming title > Brian Provinciano'sRetro City Rampage (for that Is Its full title) Is a 20 open-world action game that's coming to XBLA and WiiWare this year. You'. www. just as we went to press Stud 10 Devil announced Guitar Amp . there's a remix competition In progress: you could win a boxed faux·NES Retro City Rampage cartridge easel Sweet New music-making apps for iPhone/iPod Touch/iPad > TC Helicon's vocal processing products are popular with singers around the world. with three amp styles.alldeas on lt1e mGYewlth Te-Hellcon's VolceJam "It's a pastiche of almost every NES game you can think of.

and whi Ie the ga me has recently changed considerably as far as Avid's DAW platform is concerned .com You may lind tills hard to believe. He was right. I like the way that I can envelope the bass to really squeeze It tight and produce a beautltul compressed warm's one that's still being asked today.see ~age < years back We hit rewind to see what concerned the computer musician in April 2001 > "Who needs Pro Tools?" was the question posed inc:m32's cover featu re. Reaktor Is a monster "Micro Tonic has a unique sound . PCI cards that offered aud io 1/0 and onboard svnths .you can use version 9 with third-party audio interfaces . because pretty soon we were generating all our sounds In software and leaving our cards (and external interfaces) to deal exclusively with audio Input and output.wou Id soon be a thi ng of the past." ~teve Lawler's Loopmasters sam~le ~ack Is out now . It's a really cool program lor chopping up loops and messi ng around with noise to create Intricate sounds. If you're playing around with it and it drops something very strange on you. but when you consider how many have come since .and the fact that we've got a feature on xOx-box ernulatlons on p63 of this very Issue the answer was probably yes. of course. www.very synthetic and futurstic. Afte r thai. Finally. you can then dissect It and take away just the sma II in tn cate sou nds/pa rts tha I you wan t. if you were looking for prescience. you can add onboard FX and move the sound pattern around to create some very Drive time "PCI cards that offered audio I/O and onboard synths would soon be a thing of the past" emulation of Roland's TB-303 synth. We prised this superstar DJ away from the decks just long enough to find out what software he uses Interesting ideas. When you're searching lor something to make your weird and wonderful. luturistic leads. In my opinion. Thankfully.very synlhetic and 'futuristic. you no longer need to rernortgage your house to get a workable Pro Tools system up and running. Trilian is a must for every studio." NATIVE INSTRUMENTS REAKTOR "You sti II cant beat this modular synth for out-there sounds." NATIVE INSTRUMENTS M. MicroTonic has a unique sound . I always appreciate having something in my studio that allows me to get hands-on with tasks I ike the programming of drums. where he speculated that 'soundcards' -Ie. this is the place to go. btJtthat lifelike cover 1m_Is entirely compuler-generaled March 2011 I COMPUTER MUSIC I 17 . It's a nice way to play around and create some Interesting drum programming.and now discontinued .Trilogy bass module.d·stevelawler. Trlllan also includes the classic . you could find it in our then Reviews Editor's Mlxdown column. glitched-up.a one-stop shop for every kind of bass sound you could ever want or need to use.ASCHINE "I like using Maschine because it reminds me of the old Akai samplers. Over in the reviews section we carried a write-up of reFX's The BassLine." SPECTRASONICS TRILIAN "This is the ultimate bass module . I create a lot of my soundscape here ~ those sounds and noises that sit quietly in the background of a track to give it some depth and mood. unlike when we ran this article." SONIC CHARGE MICROTONIC "This Is a powerful Ilttle tool for coming up with techy rhythms and randornlsatlons. It's a must for any techno producer" of a plug-in. an Steve Lawler ABLETON LIVE "I use Ableton Live as a slave In the background of Logic on most of the singles and remixes that I make. and it contains so much to do and luck with. Even then we had to ask whether another clone of said Instrument was really necessary. It's a must lor any techno or dubstep producer.

II'~ In pc "ST formal and Is a 16·Yolce polyphonic softsynlh with two oscillators. along with a bank of free sounds.piled Acoustics Systems C V5T. FM capabilities. II's aVailable as a PC VST and MK. delay and chorus effects. and do AAS have plans to provide further free sounds? "Swatches Is a cornpl lationlsampler of our current Sound Bank Series titles.y approach makes ItworU1 .Ihl.COm Tocca chance on me After a VST host for live use? Lon k no Iurther than Tocca·Muslc'" VSTplaye" which boasts a su rprlslngly sUck Interi'aoe and the abllily to load up 10 elghtVST Instrument pi ug·lns and three VST ef'ects at Ihe sa me II me..AU and VST. arpegglator.vescofll. www. It·s quite a use'ul tool. That's our lowest entry point ever.g public.1 anal ague 18 I COMPUTER MUSI. dial III a delay lime and set ~he mill level to gel things going'.cm/freewa~e news AAS Player / Swatches Applied Acoustics Systems are the atest commercial developer to release a freeware player. MIDI lean and bllilt in auto-pan. what inspired the creation of AAS Player? "We wanted to reach a maximum number of users.sls a Hazardous material Freeware fiend b.and freeHass Is a correspo ndlngl y simpleellect." It's a little unusual that the users can't adjust the parameters of the sounds! "It is indeed .applied·acoustlcs.serrano has released Radium onlo an unsuspectin. All you need to do ls pick either th.delay one side of a stere<> Image to "." How do you create content for AAS Plavet'? "So far we have had good success with the service of external sound designers. We didn'1lhlnk we'd be hearing much from Togu Audio Line for a while. than the real·llle radioactive elemenl.. What exactly goes on under the hood of the AAS Player is left very much left to the imagination. Colour us excited! AP. wwwlocca·music. freeHaas Is now available as a MaooVST In add illoll to Ihe PC VST Following in the footsteps of Native Instruments and UltimateSoundBank. At the moment it contains 40 presets picked stra ight from Analog Essentials. but we want to know about the free stuff! Where are Swatches' sounds from. Banks are sold for $39 each and ship with the free AAS Player plug-in. They create presets on our instruments . for starters. and despite the lack of editable parameters it's still definitely worth downloading il you're after some quality new noises. Applied Acoustics Systems are the latest name developer to jump on the freeware player bandwagon with their AAS Player pluq-ln. We usually ask for some adjustments.C I March 2011 . Foteasy mono-to' stereo Its no-nonsense. one sub oscillator. Now that we've released AAS Player. em AAS Player C(I ntalns Swakhes (40 'reepresets cherry· picked from Ihe company's commercial offerings). This straightforward instrument does very little aside from allowing you to load up banks 01 sounds (including the free Swatches bank). and Entangled Species.Investigating. but we were quite surprised with the resulting experience" - but we were quite surprised with the resulting experience. bserrano.Ie a wider stereo effect .then export and send us the file. they'"" already brought out anolher neW pIUg·ln. Journeys. monlh's awesome TAL·FUler II.correct! To be frank. "Users can get a taste of AAS instruments without committing themselves to a bIg investment" Third time lucky Aflellas. muLllmode Il100r.". and While II doesn't have a weallh olleatures.ynthralh e. kURZ. but don'l worry abo utlrylng 10 gel your hands on a Hazmat suit . and Its MIDlleam capabllilies means you can use your MIDI controller to adJusl the volume and pan of each InstrLlmenllndlvldLially. Ultra FX." Swatches includes some gre·at arpeggiator.e left or right Input signal. we were ourselves skeptical about the concept at first. Haas technique Is fairly simple .ch Vesco value vescoFK have released a Mac version of their Haas tech nlque-based stereo effect. There are no plans at the moment to provide parameters but we'lI see what the future holds. VSTplayer Is for PC only. syncable LFOs. plus the option to buy Sound Bank patches 10' $39 each updating Swatches with new material as we release more sound bank titles.COlTUpt. and do the final packaging. Starlight. our Sound Bank Series patches are no longer exclusive to Ultra Analog Vkl and String Studio VS-l users. we caught up with Applied Acoustics Systems' Eric Thibeault. pad and effect patches. l2-slage envelope. and play them via MIDI. TAL·Reverb IlIls a straightforward plate reverb effect thai indudes a single algo .Ultra Analog VA-' and String Studio VS·' for Instance . To find out more about what's up with AAS Player. The immediacy and ease of use coupled with the qua Iity sounds provides a tru Iy immersive sonic experience.lIhm along with an EQ section and stereo controls. Mac AU/VST ww. The soitwa re lnel udes settings for sustain pedal" modulation and master volume. How wrong we were. Our plan is to keep on "We were sceptical about the concept at first." That's all very well. unlus. Users can get a taste of the AAS instruments without committing themselves to a big investment.


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Moe'lm ". onleroodel534M US:i4~' . 2. 4 prngram"'aII~ memcrv banlcs.aClld'" Iociuding .add.11<g'...plug-&-~al 1JS6 connection en M~c aJ!d pc.IIDAT 110 .1:.. ASIO 2.1.. g'aph~ colo" batKlillCD.:x Cf Wind""'.· Native Instruments Tl'aktor Kontrol S4 nAY/controller 8 InoIon". 2xln81lurneot inpuls. Apogee USB 2."."". 1'6 dymmic pads vrilh aftertouc". inpuijacl<or~LR. vrei:~17.IDI . ~ack.ndi.0. PerMoc. coaxial SIFDIF ro..o:4" ..wiiC".Z g<ilarlbass i". 2 channel" 'fiJ"".".s. wilh Ilvory t-!U:h. 2>: OJ ~ In8 XLR. Moog L.. wi.ootSound.. octave up and!d(]~ lap tempo cornols.'LIS XPflJistl 321>.: miclins'lrm1ent preamp (48V .IOg' 0".!heeI and: rrmd-uneel. 'Up to 8:( !ln~QgI ins end outs..leg.log I". Goa. suPPQrted jorrnate standalone. supports WDM.rite 5affire PRO 40 24I:IilI96k FireWi're am:llllintemme 21)): IfO. 2. 2. AudlnOesk FireWire and USB audlD Imertare Focu. MME.n. "eigOt1. 240i! USB AUllf. compa1i. WDH~1.. -':'d' I"~.rIlpS wilh 4SV ptenlorn power."""Y'. ~. ~re 400. KE:¥ still . 41 bullons. 2_. S.-.J £379.: £ o.lre 400 bffi~!mut cable lJriIh 2 XLR m ic ins.. with USB and: MIDllnleJlare. 4-dec:lC"'~Inll. MIOI' I/O... .3H_1I.slan~ """". Core Audio.. modulaU. WlodovtS 7flJIstaI'4' cornpallJle. in~oo. IJ_~~ .. u~to 1921<\1" 3<J II(l chan . -PCI..11(10" .ilaiSorr.. cnm grid paso roll _I).Z +A.1 DS~ ."ods.0. . MIDI lID (Useable as Midllnterfane).IMIDllntetf .._. .. buses. S/l'DIF I/O. 2x analog line ins (l:(&'J. Dillemions: 2.". MOI'lJI)h!:fI~ etsntl-_ .I.. es.J~ user "". lJO'o'I8f 16. R.5 .'''''' 1 ."d eflects.000100 lis torr mtl linft/inslrument. 28x lID. :pitdllJ. CQIllpatib'le withWinOOws and. W. 8 knob. ATAS. MX Gore DSg 8x inputs & oUiprJIS.""e. 4.5 x 6..w h"d~. IlreWife .~gu. F):.". 2r< ana~g ooIiJuI.. f-roH damper pedallnclucl.0025%.34. """""'.. oulpU..port buttons.:..l'MflE 3.Bx me preamps.nd COFlll'OIIe' 4-channd mixer with er9!).: 23_5cm (19"12lI).:odB 25m! .. 'mo" than 10000 pre8ets .1cm. 4. MorlaillVD . CueMI. 4SV phankim pow"'. J.10 USB MIDI ~ . Mac.. _. 100 U!iar ~. the use 01 the .D ~mul"lor..II inW"· ments as s1:aJl.rnal 1 9" lme""". eo" • GOS. 2>: PlJAIII(l.udlo Interlac._lng wltJ1 swltch8b"""'no functloo. Steinoerg Duteae tE 4. <JlaIog input. noise lOll.lni)ntlor... Moog Uttl:e Phatty Stage II Thomann Ed.II{)~ smport f".Is...I(jOt 1i<g.-£ 31 B..7:.. >(iGB ". ow"'" [lOr"'' ' Analogue syFllhes! .ernal:audln geat...- USB Imertaoo 14bil/48kH" 1.d'... requires flO driver in5talbtion. sustain bultcn.splil)'8. Phattv edilor. 2x MIDI 110.l'rolools i~'lJE:red fSSlll.. Oimen'lon~ 19"itU.. 2>:10"..abffi or :plug~in usable. Totat.fksiation 741MBW"". 37 l<eys MIDI_ direct USB 10 computer oonner:loo .-. :Hi~Z Instrumenl <lPUI "MI\ -1 OdB pad...d ar1Jculillion and 13 diflerenl""'' ' ' ' OJ .udI<lI_. inrfudes plug-in suite.iI<JbIo lor use as a. DIGIChoo'k. ./lSIO. weight G35g. 12 aneIlg naputs.. suiPI' optional. 2x SJI'DIF 1I(l.0 audio Intorfaco Duet Bundle VO... FMa and ". MIDI. 1'664 97 cnm Kils. MIDI' lID. GWiY Rig.". 256 _~ 156"." Clock.. TIlD+N ~ 0. ..Ire !reVs. Ir. . 4:.0: .. II'otrJtb:K VQ.$0 ~~~!'::i." (ll" baIa"""d' i"liI<). SlPOIF 3< .~ .2(19173 £425 ."" with 1OOG~.45'. 4. 6 .i.I~ mullHuncUon _hlr f»Jb. M-Audio Oxygen 49 (3rd Gen) MIDI USllkeyboard 49 sen"""e full ..:ouls:.\l\C 'OSX. 11 rotary KnOlls. 2 preamps 'iiiIh phantom power.. 1 low-pass fiIeIld. fa" Mac Os. ~rodocti'. WltId. ..AllIilollltetf . > 20 iblJl~-ln effeOI!l.. ~'Chben:I VII... OSP effects. PISlEBU II{) red dtpla1. 8 oonlroller knob" 9 ful~ oosliJoobl.". 111o"" slmulalors. va..: ~"jack 'rImita" outs. " gale ooIwt.".CD (lsploY.ideo. 24bItl931:1i" 1."IOIline oorllbo XLRj.s. Wetljli: RME Fireface UFX USBIfhWIl'ei"t.: neecpnone eats. ~od back. DI.- Illl'I" D ManOSX10. sampler.::iI if'!S ("2:f \1JfIh pretfnp ~d 2 Hi·.."". 8Jo: ana~ LiO (2:-: rnIOiliner"'lr. Mlm Inpul..n.".n.oo~~ master volume. lor Win XP SF2!YistaNlin7 and Comp:fete iPackag~ ot scttware Contains: KontakI. oard \!IfIh .er. torrWln. ASK) and' Core Audio. rd 25 mini keys.UlIlo "!erl .'LIilchab'letor Hi·. Includes &lllware editor for Mac and pc.ynllleo.- _Sl"'GO'''''1i~ e 1111.i~J."". ..lilFFX Soli"... "'". patternba \!IfIh -64 ".".5I<g. inlamal power ~'ppl~."sIudlo ~·:i.(lj. dmerscns WHO: 125 . 1 Olr on.2 OO<:I<Jit ". Mill. . bui~·in "". Pad conlruller.di~WDH: Yamaha Motif XF 7 Exp.018. st._ . se". 2:{ z. LED dlsDI"" 11.0 '~Dport. IuJdlo Unl~.wilch. . In).- (Inte~.ileadl*>one oulpul.oD::l.ce 24bit/192](H1 with Liquid preamps. MIDllfO. z...I analog conlrol.. fleaKioI 5.log .incl.USB-powered. "lenoy-fr".. O"". USII..aloneoperation 'Wi1h seuip l'9 It U. vrelghl3~g MOTU Ultralite MKIII Hybrid 24oitf192kHz.uems PI!' group. h"d~on.a "Ign~ buHons includiBJ 6 'IronS.. .Hands on Syo1h SOllIld' :su~ty."oollor ouls. 24blU9&l<Ijz.4&9.-. 3< XUR mlclns.uI).. '2:< I.5. 12 analog inputs. 48V IDo.

cne _'.t<.-£ SCTIIOO S!seooSet • maiched Il>op 'hielO t-. h<:iC Edition In durable ""Ii> block deluxe .-£ 91. MIOIlnlartere. souodcteck model HDX (. ".ot. ~I"tod' diopl<alJm.. tr""o~."". HID Inpul m.. AESJtIiU _al~DIF... "".halJl> between.looluoos clip on:! 00:<. 13708 max SPl WEight 275g. code :2:377&9 dili9.).c'hanrJe!1 ~4t\'''e._: 85 .. hEmdphone output. 2(11diz.". large metering ana ..r.p with ~DII). 481' phantilln power. InsIM! harm". each up to 12 pre"'la. t -button compression on each ~hannel..OU'ilpul.. A'DAT in can be routed to IDe O"~. m~ ana line loVouis are raLlIed 10MAT oUI. plot tore.rels.....I.plel' .llnhablelttWrui. Iller -flat. p.- 'P £ ::::i 715. outo ill.320 arfjaslahla frequences (7lJ8.1 ."ing inl.nge.6IoJ' I dBB·-£334. 30 . 3 dynamic 'EO.' n~"IIlv'!.oo0MH~...PO"" '"~~. Ind. blmin.oolnpsnder. S [1II~:£214. w~ 2lr gv 'billlo'1' for up ll1' 1 Oours (not inelud'. ySlem ~F Wi . enhilncer. • !iiiliiiii •• :2' independent processors. ~oc. ADAT (dOOI . im:!c Uni~ersal Audilo UAD-2 DLIO Pele DSP cartl. ~eque""..:Iofts """" and 1AAbot!<fi es. IJequenoy". Lenglh: 217mm.III ~oadliO! True divE:rsitv.. oanlloi:f.-10)dj" soo lmpadanoe.ou~ line aul. addiIiorn. LCD displl....l:lIkbutl.!Ur. 1O-band: parameu~ ro.1 .. tareromeress S. """ pImjom PIlWllf..1 ".presel+ 50 U9I!:T8OUl'lds...1tGtlaIl~ "2OdB pad. pre.i}. 1680 adj."""': 9'.IIOOMHz. 24bit COf1'1'erteT. mute . Gullar in on:! Ihru. bas.r...I multi fX pedal Up to or 4 harmocje..ljghl~j. "Wl..Q wilh :ROO I"dbock d'elE:dico ~stem. Syn<>!o. P""" 'lIPplj j""~. 9V balle!ylor UP to (i hours l (not inclWOO). 2. 8-ch"""el ADIDII 8.nces . 6Hend re. rotar)'. 5OHl-20klll. Length: 1'6Zmm . AKG C 10005 MKIII Set ilnrKletl5" mit Gardoldl8upe""rdolel.. nandheld: nanSlll~oor wiII1 Panasm~ cordenser GaIlSUIe. perOha'ne~. 24bitmGkHl ADiDA rornrer1ers ~nd' 32140bitsignaJ'proc~Ts. d~mic compreooorfd'JlJ-esser.ln~ared: frequency tronsm"ion.. dtiJWJund. an" 'w< pie.8001.mal ~suP~'.ne:·Oimensilns: 24 x 14. It. """11'1< 00'_. audio gain :::.. .cardiod. audio galh >60dE . 'lIlmlWl~t •.polld".822..ton. . OOndle It-. tu £109. Palenled 0VeIEa3j' lllchllllloiJ1 (attaok & '"_ ~m""j.11" Beht"inger DEQ1496 Ultra~Curve Pro 4 simultaneous EQ modules (J1i.PSA-Z1ll qptionill wwer :supp'ly (order code 102842..OI:.. Ind .l'iider.."". r:iate" 001'1".~ W~" _nos.IJ[ItIern"oilCh. for hann. "'1 dO!l-£91.11h B .. mt pre. . . . Dirnen:siQCtSl: 19'/1U. usa.lnt.. ". 2000.. Wordi. Sr.• <I.. "~h I'.. 2OHl"2.Phoncs.~reqUired... 'includes holder I ." moo fJ'lI' £ 159. Dlamoter. 'jro-to-wor<tIOOK l. piot tore.(J.1..:lud". rns ond XiJI DUlpUl..Il00 ."..B12.I~. OI'lkIr~172364 £I00:~ z.4.2Ok1ll. Behringer UL 1000 M Dynamic handgeld th1nsmilte.. 53.... . 1.:Ilol<..8ehringe.::lu"'. -18kH1.s.1 HSklll. ~. -101+-1'0 "'iIoh.gainst brood_ imenerance.. Intern." wlU.Q~.te. feedllaCK OO'lroyer.#. 139.5" gold 'IIl1Itered capsule. ADAT flO. .-10KIIl... 1" dl'Jlfuagm. 2:. . XIJ1 VO. !Pad ftldion.". 80mW ~F PIlWllr.·e 2 loot H. po""r -lIPplj.. AllAr O"~ (dE131 ~~ipe).. JetPLl ~tter-elirnlna~onl 00 vent 8·ch."~ grap~~Q FBQ feedoo. XUR ·"""OOlnr.lndu<les K&M 17105 mlornphone SIanO.. 0111. D)nam~ studloralrsoptune wlm card~~ f"lar 1l<IlIem. Universal Audio LA~610 MKII UAD~l Duo Bundle Classil. ir<:lUoo.1811.850-B05.AT sync..rdTune sn~ more..Inlage _ 81IIp...t6.<Hl. aMylorwilh _Ie RTA miG in.-£ Behringer ADA8000 1279._ 150n.- I £ i&22·-£522.u. rnloFtlphone dips and <59!1. !ruIh. clip and mic case. deli1Y.~ LexIcon MX100 Stereo VST f1( Roland VP-7 Vocalist Vocal Perfo. ". MIDI or rn 1)3. gain and leYel conuos.~1iO! me (cardiai~.jlIhoIte ShJtliIllarge tliaphragm .~ Rode T~I 000 Thomann Edition Largo ~laph"gm ooode""" P. scan _l'on." ni. ~ U"F ".dl..el wiII1 BOhsnnel" bcK func!Jon._.1l3dEidyn?lI1ics. . True' diversity.."lo if. ". 14DdBA SPL ..4SV ptmtom power ~. ". wll'ldsaeerl. .rabl. lAC compander. b""~ Neumann KM 184 stereo--Set Mat. JeQUi""._1. 20m impedance. jiltJ(lXLR IPhanl!Jm "ower). 2:< 31 -bond: g. MIOI " US!\! InptJl. 1 Om CDrtI~1 ilJl oalJlo w.1al ins and ouls. wi. offe. Finish: Silver. oot 1!>:lud'd).m" 'kt. ttoeem liII.l... Weighl: 7J7g call1o~ palla"" 2UH. ""'".ld.rlPI".- £: 4n· ~ iI For.~ Behringer FBQI501 Ultra graph Pro 2.d). "orl>."...P"anasonk. reYerl1..·£ 800. b:I..I for "". 168U MjuSlailll' frequenole~ 2U . mox 5I'L: 147<13. 1 user presat wit" 8 Glaingl~ lock fur<:~an.. '"~ N12 headset w11h.omp.. p]ug~in arrnitecture wi1h USB interrace... .ll1 ber. ""lllIl'"" unit tc e.~ elimirn. au'" !uno.8kg..preamp Olocrete ClaS8 A solid' sI<iIa.. ~".band graphic EO.snxkmount cable and! tutollal 'DVD.'" ""'' b.-£180. "' oetecucn system. 0. "'" dvnamic JIgo'rytllm. ". DI~al mainframo lienrirt.denser microphcn~ £215. . rn lei Ii""". cardlQld~ \oorI:J.i 0". u nannet Ba&!t1 an the leg:lflIar)' Bill Putnam . lrnbr" Will ADIiT va.n1e ToIotr". melal t>JiI!lng.. mlom wil~ ""n~"I~ mi. l<IonIcal as H<de ~IH 000. 6 mlc~l"" oomllo XU\J. RE serles..:ust"lte OctoPre Mkll ~'n"ej mle preamp with IV!I lnteqrated 8~neI24bi:t/96kHi digilal output.itch . 8 InlltllS (2 mloJllW InSirumoni combo XU!. U!!F"'.46dB ranpe. D-band /00.1+».I-llm.dimeRSIions: ~.rd ... "'-. flair presence enfwl:ement. pow .. D-Balld 780.. ..hi. 'Iegendell' lil'loon algorythms: Mils.ed I}chJmel 24bitiSIikHz digital' 110. ID:ed stand adapter.:I ineIWodldB5. PAO Od8. E\l am guitar funer.) a"anglrg.r (cardioid).Illid-boooIS"rilch. sound. ... l' 2dB-A 'qul. "10dB pads. jack unpets. 2 simullanoous r:=x. .9fn cMl. delivered: in a l1rooden tox. gui1ar cilble emllliltoI. j4. figure 01 eight.! sub 001." PO"''''. 320' adjus1:able necuencles 1198. XUR M~ II!..".lv •• Iudl. LCD di. FlIQ6200 lIft"grap~ Pr. 7. 1 u.850-005.4111.... pilot . mlC'~ph. 2000 in.610 10..s ODd'bass drum.lntem.5". Oim.lnclttIos """:o.uI.. . wax SI PO IF L'O. ad:IlIioJlru sub ". Dimensions: 19"1aI ••••• ~ J. harm"" . roIlIlff "'iIoh. .01"'110.o •• cardioid. steroo or dual mono. iphare f"e"IIeffie.. .". JetJ'LL J11IJlr- SPL GoldMik. XCll. 20HZ-':::!lKHz switthable 300Hz 10wi ~Iter. 2ooz"20kHz.bed 2x ." and . servoMisneed va & ilJll.WordClaok. ~ . ohoru" tI3rQeI'.. 'Lfffl'V cl.~gue In~ Combo XLR (2. 3 preselswilh B_S.r UL 1000 B UHF s syslllm "..on ttjpaS"" alle"". plot _.5". S voices 01 N.. 31dT oln:ui1l\\ 1. me pre ""~ <ll. SG2 stand' mount w.. digi.e 9844 2. <ihrunbers.. lap delaj."..ndlo" ba't1:Eryjndcatu 00 lranamitter.Di~meter: S4mm..h and !mil ba~ry indicator 00 Iransrnitter.nd dlh!d out on escn ohaon.:5" rerewer.. ccouete guitar au stereo live remrdings.4511l"18f:>1. m_looper 0B secj. aliril:es doubted <225..lectronlc Voice Uve 1 V.1 . 300lW HF pow. =_=""'=d:ins=&=o=ulsl\M~01~h gold:.! micrw'ho. ...~.rt . 8..lng . HD.- £ large diaphragm coOOertSet'mil. 1 use.lookor AD.6 X 21. 9. n.".reo comp' .". 144dB msx Sf'll"r THD O. 1001pedal I" 1b'yJms onl'lI).."pili) head". O:ver&sy or h:lrd lIc:nae mode. "5dEl " -1008 HFf mounill'. shodmlomt and edemat POVIer OilPplj. 2UH. 2(Miz-20kHl. ~Mdphone «11. lrequ.. 2..mall "I'phragm oond""" microO.<l.Ia 'BIlC...". in1erml: power suppl~_ Dimensions: 19"/lU tc Helicon Voice Live Touch Vecal harmcny effect prm:essDf & looper Eff"'l0 I!jVoJoetJ."...(lo{!e~77M Anlsh: 0...."~ .1 crockl"ll ana _mal'.oor and warm Focust"ite Octopre MKII Dynamic in1egrn.inoorpo. Wei~ Z60g'_ Large dlaphnt. mu:!e . headptnne .xwll.. Olm. real lim. LPJilldstrecl1.5" recel.:ti'l.lnclooing pli3S1h:: case... intomol Oll and guitar tuner. aml:Jience. analog and...sPOl1'" 20H. ml1:...ncy lange 80H. PeakS1<1> lin 1IiIIg..botIlJryct>eek·l'O.: mrrnoniser and' ~lnh """""Ion. scan Iun"lo". 8od~pi1C'k.lien! e4'lr~ion IOJ ODX321 G or any Inl. au' ii..~ . "pobll~"" response 2OH1 . . outpuls. MEJ electret headset "".~rdioid~ 2:01t::.135N 55dB rnue SPl.00mdlll. lile in."oiaid I)at\ mlcfQphohO..I'e p. Iess SW"'" ~ 9. camPI"""'.HF2 capsule with P."I. 1'34<1ld~m~ ralI'l'."p.wlble frequencies..EO.:condenser c:apsule cardlalel.IS. driB: 228. Rode NT'l~A Studio Solution Set Studio mit::rophone ~equ.l p.pll_1Ed:XLR """keIs.. 8 a".(1i-4c:m_ We~ht O..:Iudes Ihetbone MS1 00 po~ "'1"ld • V.".Ignal "ulDul. m'gar>hI>ne and: dlSiation.~ 189.. hue ~pass...liiiiiiiiii~ d~' 1~6Xl St.152. 21'/17 stancadeplers amwooden tox. • LA-2A style T4 opin-tOOlpreSSOJ. 3 pre'e\O.l.. stereo link.__ Gardoo polar II"Uem.61 compreooorJlimiter/gate. l.~g".pedanoo. MIDI In.1Id PAD.hocI<mounlSM6. BNC. oardl~~ polar pattern.181:11" Infraroo freqJo I'IGj' traJ1SmlS8lan.. batter)' or phanl"..~ Com:lensff mlerophone stereo bumlle 2 malmed small. or M-\fOice lpo~phony. 200 251"orll"" voicItg bullo..5%' i."Iorooh""" sequenli~1 :serbl nl'.. .It 12AT7 \fOh<e. S'WeepilolelimilEr.ri'l' Pi. .o~ld. D ""'I~.6<Ill....." 5..JSroo •• \~"''''''''''''.. VLOOP tpE:J1'rumilnceliOCal looper.IFI{.mn r1525..000 .nt nr enm ""'_. cab1cJe and' bag.~IDI in. llDhable -l00B padllnclud" _run!. tube reC(]rdin.. 'diaphragm conosser micropf>Mes. swflnhable oHP 1iIeI. 24b~ I!{I/DA. internal clool:ing • rllJ OXl".15Q'. Made in FIuss~! stereo set Small diaphragm tOooenser mit bUmlle zx KI<I184 cordons" .. 20 banks wllh """" up I<> 12 prese.mol shxk 4iJH~ or 800.Ight 860g.. 2·chann. 15-b. 1" 1"'90 dlapi1r. Dynamic l8:fge lfiaphrilllJm microp_h.. ern linish indlJding.lmprol'OO . backup and oodiD 'lreamlhg. ~ f . 5-CED 'Input'lllotering <JIll direct ouipUt en eccn ch~I..s'i lap dOlay...l'Jl:ludes cIeIw:-ecase. 5Q1Il-2~'.WeIiJ1t ax . ""Il' 25H...~ FinEh: Nickel 6.I" IJra. alo.. control.". _~ fOgo. II".

skrt· l03dingdriVE:.nnel OJ peetonna . S5H>·10kli" XLR &.7crn. tempo.d' 1 pair MiII.."I". over 1158. 104<JBN sensi\llJlly. 11. tlSOOM .. 19mm (314._nr:edI unbalanced jack in.rerJmagl"letical~ fhielded. "".: 25.II brati<el Pc"" per .. SO. CitmlauraJ 119. weight 240g CI•• O<I d!fl1amic ". 1rn1ll able 1158. mile" 6 INST FX lunollo" on . .11 ohanoel "~h poIent~motef.401lz" 2-4kH" " bol""""d' X~Rinpul. studio qua'iity phone preamp.\Ioot1000 arc 2 reIrordbm< lapjops pro ProOJ Un~. pan.3 AE::ti1Ie2-way shufiO neartield mooUor 8.<!Ph""".20W(tle!JI').pl<!j1.1 '33." f.""m~ DJA..".0'/11 bi -a rnped bass rei." S·37 _ Pioneer DJM 1000 kh. roder .analog :inpuls (sIereo mini-jack !lnd' FICA).. bass drl"'.1 @ I'm.. ID-fl. 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that's the state of the industry today. but that doesn't have to be the case when an artist enjoys commercial success after building an underground following.influence. _w. and In order to be registered. It must meet The Official Chart Company's (fairly stri ngent) rules. Rlhanna and Lady Gaga have aU flaunted full-on dance tracks at the top of the Kate Perrv's tracks C&-opi lite sound 01 dance music. consu mer tech can have an influence over the style of pop music. For better or for worse. Obviously. newspapers. > make music now / the ultj~p. it stands to reason that a successtu I underground track should at least have the potential to rise up the charts. The Offi. magazines and websites. Perhaps an accurate predictor of coming chart trends. Pop rnusic. to an unprecedented extent.'~ _~~G " pop production "- . while Magnetic Man Itave risen out 01the undergrou nd US charts in recent years. Pop music by definition must be accessible to the majority of people likely to hear It.. it's likely to trend 'in pop music a short while later. Right now.rock and R&B.. Similarly. beg or borrow Clearly. Aware of this. it needs to be registered as a cha rt entry. whi Ie electro house and dubstep have set trends in the underground. . this is a bit of a sore subject. pop is influenced by other styles 01 music. that if you're Intending to get your song into the charts. so too has pop music embraced this retrospective . as well as many Independent shops. It's worth noting. Furthermore. So when something trends ln this world. Your record label should be aware of all of these things if they Intend to go to chart with a release. Whatever factors are at plavdance music has become cool in the American mainstream over the last few years. pop music has unashamedly borrowed elements 01 both. These charts are compiled based on sales data. Ke$ha. The Official Charts Company In the UK. which is why advances in computer music technology have largely dictated advances in underground tunes. artist albums and compilation albums.for example.. This lead to a trend that still stands: the narrowing of the accessibility gap between tracks produced by the traditional. big-money pop world and those made by independent musicians. though. but luckily rocc Is open to the public too: theoffldalcharts. As well as the main charts for singles. It also has to be sold via the most popular media in the marketplace so that the average person can buy it easily.and albums charts for those plus many more genres. All of a sudden. is what's catching on in underground venues around the world.idual singles charts for dance. Knowledge of a small underground phenomenon in one country can now easily spread into a worldwide movement That can mean there's more money to be made. The pop charts are featured on BBCRadio One every Sunday. When consumers started downloading music en masse around the turn of the century. if you don't comply with the rules but you hit huge sales figures. provided by a sample of retailers on a daily basis. big giveaways and similar methods of coercing punters Into buying your record for questionable reasons. the major labels try to tap into all current trends that they think might have chart potential.'~~~~. An undergrou nd producer could be fiddling with FL Studio or Sony Acid one day.Kelly Clarkson and other such stars have used heavy helpings of dance Ingredients to secure the Number One spot with their rock and hlp-hop tracks. piracy became rampant. music of all genres became "free" and easy to access. then. The consequence of that increase in popularity is often exposure to the·rules. A product at I S t·~ . Magnetic Man or Pendu lum climb up the charts and break through to the mainstream every once in a while. and offered work with the world's best known pop artists the following year. lndie. Steal. . with his music firmly aimed at del ighting the ears of the elite few who understand his scene. as ironic as that might sound. Other rules discourage pre-order incentives. No musician likes the Idea of having to compromise their art to meet the demands of businessmen. there are indiv. and the retailers covered Include all of the biggest sellers.cial Charts Company compile and supply weekly musl c and Video charts. Consequently. lt Ime . it's especially influenced by the more underground genres. OeadMauS. Simultaneously. Katy Perry. You ca n" buy your own record In bulk to boost perceived genu ine sales. It should come as no surprise when leading underground artists such as 0 Ramirez. Taio Cruz. Underground music is associated with low budgets.. You can be sure that A&R representatives at the major labels are always keeping an ear to the ground in the hope 01 discovering the next big thing. Music communities online are typically made up of people from all over the globe. then.. if pop music is doing Its best to keep up with the underground. P·ink. For some.. And as progressive house and dubstep have revisited classic trance ideas. you'll stili have a hit record -It just won't appear on the pu bl ished charts. The Black Eyed Peas. With this in mind. which can in turn help a music scene to thrive. This includes legal downloads as well as physical format sales. followed by a host of TV shows.

Kelis. It's not really straight-up pop. but it ended up crossing over. the team Insist that 'It'$ not just about working with the names people already recognise . We worked closely with Goldie quite a lot . Estelle. back in the 90s. "That was the a 1mof the game. but a sort of street-type record. in retrospect. "We genuinely thought we were making a UK hip-hop record. Its hard to descrlbe.the ultimate guide to pop production / make music now < Future." Top of the pops Future Cut's OJ reads a bit IIke the ba4. Agaln.:kofa greatest pop hits compilation album. "They're just really exciting. Shortly after that. all those guys. Their affiliation with such names only came about afteJ their unexpected success with Lil. we've been producing pop records of al.really. or!sorts.. YasmnWe'\le signed some young producers caltedThe Megabits as well.DeVIIn. and that it was a.Darren Lewis and Tunde Babalola. then from that to making tunes.they're stili comingtrom a sort of dance edge.eof Future Cut's most high-proflle clients." Darren tells us." March 2011 / COMPUTER MUSIC I 27 . Darren recalls how it all began for them. they've found themselves working on a string of wild Iy successful chart hits and with more celebrities than you could shake a stick at In the Austra nan jungle. not 'underground underground'.reaJIy . Obviously. helping to develop them.. Shaklril. We first started working together in '98 and got signed to Renegade Hardware not long after. so when we did Smile. squeaky-clean creatures with no interests outside of their own music. "One of her favourite tunes was [Jungle classic] Valley Of The Shadows (31 Seconds). Then we got signed to [Warner Muslcl off a track called Midnight. I suppose many people don't do it with the first artist they work with. Kelly ROWland.. And that was that. "We started out in drum 'n' bass. who we've signed to our publlshlngoompany and our production company. an underground edge.yAllen .thefte. Ni." It's perfectly understandable that you might wonder how working on underground drum 'n' bass tunes might lead to the sort of high-flying work that Future Cut enjoy today. Ro)(". we kind of thought she was like a female rapper-singer. are one of the most In-demand production teams in the industry today. Since that point. buttheY'n! gonna be big in the next know.teres-.and Roni Size. "We were fortunate enough to work with all the people I suppose we really wanted to." "Lily was unsigned. Dizzee Rascal. It's very q'*"Ybut It's a girl-and·boy duo and 'ifs$Ol'lWlhlng different. Sugababes. It wasn't intended to be a big crossover record. Speaking of jungle. PaperOows.YoU'l Just have to check them out! We'¥e. but her manager at the time thought it would be a good match.. we met lily Allen and worked on her firs! album. Dluee Raso:alls on. We're helping them develop as wel' . Professor Green. Tom Jones"Natasha Bedingfield. Indeed.. something different .coleScherzinger. engineered stuff and had releases on his label. but they stili see a lot ofpol8ntllil' out there and aren't at all shy about In~'lnfreShtalent.Oily Murs.J." he recalls. ''After the drum 'n' bass thing. Darren explains the logical progression from working with the leaders 01the underground to breaking the national charts with a new star. Today. which we were lucky enough to do.lstbeen luc:ky. Then It was a sort of pretty mad rise for us over the next couple of years." explains Darren. really. "We've got this band.Lemar. In the five years since. Kate Nash. ~ Fiona. "We were into jungle before that and then we progressed from that to DJing. hullhe'fre also interested in developing new talent Reason to smile The step from Goldie to Lily Allen wasn't completely random.and. that sounds ridlculous 'cause it was such a big pop song.. and Lily was one of the first artists we worked with. @ut==-kings of pop production UKbased. I guess we just took advantage of the opportunity and really threw ourselves into being producers as opposed to artist/producers or DnB producers." Tunde reveals. Among the famous names they've worl(edw""areSopNe Ellis Bextor. We're also working withthlsguycalled Wretch 32 ~ he's a rapper ~and this girt. aka Future Cut.Plan B. take that back seat and work with artists. Andy C. Darren and Tunde are understandably picky about who they'wor:!< with. but Darren points out that the thought of a Number One single hadn't so much as crossed their minds at the time they were actually putting the music together." Future Cut's collaboration with Lily Allen put her in the Number One position for two weeks In 2006 and helped to make her a seemingly overnight sensation. Despite not initially intending to break into pop. It never was. Rlhanna andAdele_ Still. she has repeatedly shattered the myth that all pop stars are otherworldly. we decided to become more producer-producers. Future Cut stili work with lesser-known artists. Remember that this hook-up happened before Lily was even defined as a pop artist.

And as it turned out. "To be honest with you. balls and a bit of cheeklness. "There's no right or wrong. we never thought that Lily was necessarily gonna be a massive pop star. you're mistaken.which is testament to her character. they tend to stick with the same people again and again. then there's a good chance it's not gonna happen. they may have been an overnight success. making phone calls. There's a mystique around getting signed." Darren agrees. working out vocal arrangements and all of that." Advice for cash Tunde has some advice for those . no one did for about two years. really good. "I think it's actually dangerous to try and pander to a label. "She has real charisma.1)111 Iii I > make music now / the ultimate guide t¢ pop p Future Cut's rocky road If you think Future Cut have had an easy ride. they did it well. But as far as actually being a pop star.l think for me the music always comes first." he confides. even If irs just to learn your skills. 'Let's try It with this producer and that producer'. As her producers and co. It took a long time to get signed. different and Interesting. Future Cut could have potentially been cut out of the deal. and eventually the world kind of came round to them. tnevre managing a guy the same age as them. to learn how to produce a record. From the perspective of the mainstream.really young. The rest of It was hard work. Then the rest is hard work.who are looking after artists around the same age. graft. but I think you've got to start like Tunde said. but Darren tells a different story. like early 20s . You've got to love what you do as well. We·ve been working recently with lots of young managers . luck. chasing people. they approached it in a way that was true to what they were about. and she was adamant that she liked what she'd got already and was happy with it and just wanted to roll with the people who she'd been working with . Darren's keen to stress the importance of finding your own style. we knew she was gonna be something. determination. it was floating around for a long time. because the hours you have to put in and the sacrifices that you're probably gonna have to make mean it's not for everyone. confidence." Uly Allen seemingly hit the charts running. "Sometimes labels can be brave.Iooking to make it as a pop producer. in fact. by making music that you think is really. "Instead of sort of trying to fit an artist to the criteria of a particular label. that there was allegedly talk of scrapping Lily"s existing works and kick starting her career with fresh songs. persistence. If you take Tinchy 5tryder's managers." So long. If you're in it just for the fame and the money. but In reality her tunes kicked around the indUstry unsigned lor two years 28 ! COMPUTER MUSIC I March 2011 . but often they're not that brave. "How do you get someone signed?" Darren continues.writers. Tunde's very clear on his stance. "Find a local talent you can work with." As for attaining that elusive record contract. we didn't think anyone would get Smile." Having started out without the specific intention of creating pop hits. really. They saw something. Tunde elaborates: "I know there were people who were like. If a certa in sound is going around. Irs getting the best out of that singer. Irs not just about writing a beat and then sending it off and letting someone sing it. And to her A&R skills. 50 what excites A&Rs most is something that's new.

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The most obvious link seems to be the heavy use of vocals. If you hear a La Roux song played in the background of a scene in EastEnders. especia lIy as this is a volatile time for technology. the venue has to pay al icensing fee to PPL and PRs for Music. andl if it continues to adapt to advances in technology. Furthermore. The concept of downloaded rnuslc caught on like wildfire. paving the way for Elvis Presley and later. But the industry "In 2007. These crude beginnings were the formative years of the top 20 charts. cofounder of the weekly NME (New Musical Express). to as traditional pop) was dominated by the pop charts as we know them today existed. though. Currently there aren't any structures in place to even make sure that the appropriate royalties are paid out on every video. and It took a lot of people by surprise ~ which is why some companies are struggling now. there are two types of ownership: ownership of the song and ownership of the recording itself. that rose to over 150 million in 2009" as a whole is healthy. and It never occurred to anyone at the time to count the weekly record sales and use those figures to build the charts. bars. with singers typically elaborating on romantic themes. a track generates an income lor every broadcast. "Even if sales figures were to d rap off. Money rnonev money Naysayers say that the pop music industry isn't the big business it used to be. Pop music at that time (sometimes referred. etc). The first chart was published in 1952. That figure rose to 115million in 2008 and then to over 150 million in 2009. the original writer wou Id stili own the song. around 89 million downloads were sold In the UK. He was right. The recording artist. it shou Id be big business for the foreseeable future! PRS for Muslccollecl5 broadcast and venue royalUes for ""ngwrlter5Icomposer~. If you were to perform and record someone else's song. you should a lso watch out for synchronisation rights: if you sign those away.Chart history In the early 195Os. sales of single-track downloads have been rising at a staggering rate over the last few years in 2007. cafes. Since the main radio stations play pop music almost exclusively. Dickins started by calling 20 record shops and asking What their best sellers were. the track's composers/ songwriters earn royalties. they account to you on a quarterly basis and payout royalty cheques. but It wouldn't surprise us if this situation were to change in the near future. When the recording is played on the radio.companlments. you'll miss out on royalties owed . Queen and Madonna. Once you become a member of those societies. The Beatles. Licence to bill Speaking of broadcasting. Perhaps some clues as to what makes a hit record lie In the similarities between traditional pop and modern pop. there's decent money to be made from a pop record through the airplay it receives alone. AI Martino led the way with his performance of Here In My Heart. that has to be licensed. That was until Percy Dlckins. musicians have two potential revenue streams. which in the UK are collected by PRs for Music. earns separate royalties that are collected by PPL (previously Phonographic Performance Limited). this IsRC can be inaudibly embedded into the recording. too. At the time. and it's not difficult to set up a YouTube account and upload your music. a song's suceees was measured by the sales of Its sheet music. befo. even in the glory years of vinyl and CD singles. He'd caught wind of the Amer. Consider how views of a song's video on YouTube might alter the playing field substantially. which served as the origin of more upbeat POP.and they never have been. According to The Official Charts Company. enabling PPL to be automatically notified whenever your recording is broadcast. meanwhile. when music is played inany public place (shops. After all. It doesn't cost anything to stream music. Jazzy numbers. comprising melodic lead vocals and gentle Instrumental ac. To put that into perspective. from the use of your recordings in film. At the rnasterjnq stage. There are currently efforts underway to bring about a pioneering system in which streaming media is accounted for in the charts. why are people denouncing this era as the end of the music industry? It's true that some retailers and record labels are making less money than they used to. So. but the numbers are telling a different story. TV and advertising. sales never once surpassed 90 million. around 89 million downloads were sold in the UK. PPllssue International Standard Recording Codes (or ISRCsfor short) that uniquely identify every recording registered with them. came up with exactly that idea.lcan Billboard charts and thought that by listing weefdy records charts he would generate additional advertising revenue. but you would own that particular recording. Because of this. for example. So. When you write and record an original song. but this is because they failed to adapt in time to a fundamental change in the mechanisms for selling music. Next came rock 'n' roll. the truth is that they aren't the be all and end all when it comes to pop music . the truth is that they aren't the be all and end all when it comes to pop" Be aware that the industry landscape is still somewhat changeable. while PPL looks after the wallets 01 recording artists Radio royalties Even if sales figu res were to drop off. The record Industry was stili In its infancy.

. • ~~ .. _ ._~I* ill. So where do today's pop songs borrow their drums from? The vast majority use very simple rhythm tracks that are instantly familiar and integrate nicely into the rest of the record....._ . ~ . ·'IO'Li'M... •••• ... !iItt~1 ~-'I ~ . Interestingly.. pretty much anything goes... . but remember to keep them low In volume _ (PopBeat1+rides. (PopBeat2. • Never underestlmate the power of slmpllclty_ Keeping your drum patterns simple doesn't just make it easler to integ rate drums rhythmically with all 01the other instru ments. pop music (l n the UK. The importance of the drum beat in etectroruc music can't be stressed enough. ILII"~'_ . you'll want to pick a ti. who'll lind a simple beat much easier to get down to Remember that nearly all pop music tracks use the 4/4 time slgnature_This Is said to be linked psychologically to the instinct of walking with two feet.. After all. Don't use 'playing it safe' as an excuse for your rhythm part being boring.the ultimqte guide to pop production / make music now < Creatlng. 2 --~~ ~1- A basic kici( drum pattern comes next. lor example.- fill _..-w 0.. > . •• _ J 4 _.. Try ride cymbals on every eiqhthnote lor the chorus. but those are also very popular types of beats. As such.. Sound-wise. - . . The most common exceptions to Pendulum eXperienced chart success after crossbreeding rock wllh DnB this generalisation fall under the category of live rock dru rns.but it's also less work for your listeners. II you 're thin klng about co mmerclaI potential.. As for sound choice. as important as the drum beat Is. Even if your rhythm track sounds good as a sparse beat with minimal elements. In it creates less work for you as a proclucer . Here we use consistent eighth· notes with some velocity varlation to help give the start of the bar some push.. within reason... So. you can always switch styles for different sections of the song.. DOIl·tbe afraid to add the odd lower-velocltv hit at other points in the bar. ..."1 . With all of this said. it also makes the job of mixing all of the sonic elements toget her tar easler_ tn at respect.. > 3 ---.though. an9 even the odd pop ballad Isn't shy of a weighty synthetic groove these days."c... a good pop song relies on a good beat. (PopBeal1. Notice In the screenshot above that it's mainly the kick drum pattern that we chanqe.... . pop drums have to feel good. but it's crucial if you're aiming for a radlo-frlendlv mix.. a handciap aften works better than an actual snare... you might lind that adding a subtle extra sound or two can help lilt a section. good news: all of the straightforward drum standards from rock._.. --... lots of great pop tracks weren't intended to be pop when they were produced.wav) lv1arch 2011 I COMPUTER MUSIC I 31 . Start by picking a moderate tempo and programming a simple hl-hat pattern.... • • •• • • • • _... though. dance and R&B.. partlcutarlv) has become increasingly based on dance'and electronic music. I".. Many pop tra cks adopt a stomping house groove to give drive at certain points in the song.. •• • • • • •• ••••••• . simply slapping a snare drum on the backbeat is often all that's needed to make the beat teel regular..ght and punchy kick sound.l... > I """... O-~ _-- ••••••• I ! ! ~=I 1 Many pop fans will tell you that these days....wav) > Pf)WI=~TIP >Keep it simple l 111~m:Illtr. .. and a II variations thereon.pop peats Regardless of the specific style..'. a pop song doesn't have to use authentic sounds. • • • • •••• • ..~ i-~-~- No matter what your kick is doing. you're better off throwing the rule book out of the window than slavl ng away to achieve a strlct ideal. with a good top-end element to It That should always be a consideration anyway. will work. it's almost a given that the drum track on a pop record shouldn't be overly busy or messy ~ a sparse drum mix leaves plenty of room for the vocals and other foreground elements. The key is that all elements In the mix work together and don't compete too much for space.... the rhythms usually play only a supporting role and don't draw too much attention to themselves.wav) > -- 5 Where the rhythm's concerned. Electronic R&B and house-style sounds tend to dominate. Above all... So...

mlght be worth switching the order around. but feel Iree to make ad J ustrnents to the pitch and rhythm to make them suit the lyrics. (PopMelodyldea. A song about being caught cheating might work well over a jolly backing track if the intention is a cheeky.ics and othe·. you should always bear in mind how the whole production Is going to sound to a fresh pair of ears. we end on the same chord that we started on: A minor.2 ! COMPUTER MUSIC! lvIarch2011 . and then we adjust the rlqht. PoP chord progressions need to be digestible. While there's nothing n. . ideas might be more easily realised without ties to a pre-existing pi. requires absolute. we make a variation to be used for perhaps tth ech orus or middle eight. > > Step by step Composing a pop melody p. I III I ~ p.. even if the progression. consider what kind of scene the music is already painting •. > "' 1 1 l 2 Experiment at the keyboard until you have two or Ihree more chords that work toget her as a prog resslo n. > 2 The next step is to transpose the notes up or down in order to form a melodic shape.s themselves are simple. a go od pop song rei les on a good melody. First we change the first chord (F major happens to sound good)'s best that you remain open to going back and forth between lyrics and music after you've wrtUen the first draft. uncompromising congruency. verse. and transpose and resolve th em pred Ictab 11'.. All yo u need to keep in mind is that it has to flow both easily and musically. I.wav) > 3 Now is a good time to play with lyrical ideas.1 UI 11J1I1I U1U II I1Il 1 orus. Th e most stm pie areba sed on th e theme of chorus. Either way. it's a common misconception that pop music Is always written In a major key. if not downright simple. 50 don't spend too long on this step. In this case.~ ~ III I' I. I IC' II.1. Use as few unique notes as you feel necessary. Conversely. However. a good pop song relies on good chords. verse.!-" ~' 1_ 3 Next. The point In writing the melody 11[511510begin developing the general shape 01 the song. well as a whole. In our example. You.signals approach. Often. concepts forlyr. (PopChordProgresslon.wav) > - 'III LUII. If so. It . on the other hand.k together in order for the song to work. you may find that you work best with a backing track and some idea of a melody to write to.- II- • I 111:1 II C r- !II~ ~ 1 Many pop fans will tell you that these days. If you have trouble with either job.ecessarily wrong wllh the Ironic or mixed.ece of work. with one writing lyrics and another composing the music.!IJIJ 1. we're starting with A minor. Start by playing a basic repetl live rhvt hm 0 nasi ng Ie note. yo u ca n sta rt to ex per Imen I wi th th e arra ng em ent. may find il easy to add words to a melody you've written.. > 3. Here. ~ II- -- 1 Manypop fanswill tell you that these days. sirnpllcitv and repetition makes melody catchy. it's important that the backing track and melody tell the same story as the lyrics. consider your workflow.wav) > L 1 J 4 With two chord progressions to hand.111. but Ilste n to th e ba cki ng ele me nts as 1'0 u do it.. As a lyricist. remorseless disposition.1.. Sincerity.AU of the elements have to wor... But in what order should such work be completed? The songwriting process isn't set in stone. If you're writing everything yourself.hand keyboard part only on the other three chords to help them flow from this new starting point (PopChordProgressionVariatlon.> make music now / the ultimate guide production Lyrics first or last? Many successful pop songs are written by songwriting teams.2!_ :::ISI=~~~~m_ ~ e ~ - "" =: ~ ~ ~. but be awa re tha I a pop song Is Inn 0 way restricted to that deg ree of simplicity. You might base Ihis rhythm on a lyrical Idea you've had.


but you're not going anywhere if you don't have one at all. Even silly ideas are welcome at this stag e. you should have a lot of ammo with which to determine a potential hook line. Consider how being flexible with the order in which you start and complete your va ri ous tasks ca n improve h ow all th e elements work tcqether. once you're familiar with what kinds of messages are out there. A well-written song will always hijack your imagination and play with several of your senses. consider what vlsuallmag-ery mi. However. but when you broaden your scope to consider matching it with words like 'here'. > tu n ctl 0 n that rhyml ng plays._ > "'OWE . meaningful lyrlcs.:1 >Respect the norm If you're unsu re about th e arrangement 01 the song you're writing.~s drunk". It's time to develop your theme. At this point you shouldn't get too precious about any particular idea . > 5 POW~PT'P >Rhyme games It's Im po rta nt to re me m ber the l Arter brainstorming and considerlnq viSUal Imagery. how you might develop the theme through the lvrtcs. Don't be shy! 3 Have a brainstorming session to see . 'care' rhymes with 'there' and 'stair'. simple statement. have a go at putting some rhyming. and thai th ere are at least two choruses.. As such. Refer to the music or your bra instorrn Ing notes as much as n ecessarv W riti ng g rea t Iy rlcs is a non Iinear precess . lines together. t. there's no shame In copying the structure of an already successful hit.. Realistically. The plan here is not to start writing your rna sterplece. Maybe you have an idea worth exploring already.eool . lor most of us this begins with a blank page. your lines suddenly take on a more matuJre lone. Remember that you can have as many as two or three hooks.. lost it 11 it log. you'll get an idea of what's possible and what won'! work. 7 To start constructing your first dratt. i. ith was drunk. but we reco m me nd that yo u sta rt by li5te ning to some recently released pop music. even if on the surface it appears to be a throwaway pop number. maybe more.It can't be done one word al a time. you might want to propose an arrangement The advantage of doing so at th is stage is th at you ca n better estimate how many bars each section will last and how many sections you'll need lyrics for. Ihe rl ght wo rds mig ht be Just what's needed to conjure up those images. Just keep in mind that anything you do while preparing your first draft is subject to chanqe. 1 cops 4 Once you've had a think about the theme. this shout d her p you d evelo pan understan di ng of wh at's cu rre ntl y resonat in g with the public. It helps the listener to feel like they know what's going 10 come later on In the's said that a picture's worth a thousand words. but rathe r just to pi ant se eds for ideas later. at least to get you started. it's often a bold. You'll find the big radio stations usually only play music tha t's arou nd the th ree·mi n ute mark. Sure. and wh a t se lis..ghl work with lt. You r optl 0 ns beyo nd that point are fairly open. without discarding the =ose of traditional rhyming.QOl w.c "nd reason Hps w~re fr~j. what people respond to. You can spice things up a lot by intentionally using half-rhymes. A song's hook ls that part that hopetullv lingers In your memory after the song has finished. You can be Unco nve ntion aI If yo u want. 'lost ~11 log1. 6 > if you have at least one strong hook and pi entv of verbal fa dd er with wh ich to build lyrics.ty' hEr:' hai ir' wo". but the reasc n we have m ust cal standards in the Iirst pia ce is because sonqwrlters have worked out what works. thereby working to buud a sense of familiarity and m aki ng the rnessa ge eas ier to dige5t. Really listen to the message of each song_ > 2 > Obviously we're not suggesting that ever y pop 50 ng' has to have deep. Get it down. th it . c and reason 1 Many pop fans will tell you that a good pop sonq these days relies on a good set 01 lvrtcs.and don't try too hard to come up with specillcally 'good' ldeas. > 34 I COMPUTER MUSIC I March 2011 . lronlcallv..

~ extra TALENT STILL RULES Pop vocals don't need to be performed by exceptional vocalists. which can only be a good thing. Instead of pouring your efforts Into adding more sounds. but the most useful information will always be your own emotional response to the music Itself. This i. Music appreciation Is a skm In Itself. bec:ause those qualities are generally repellent 10 the music-buying public . sort of. t~e easier it is to achieve a huge. Producers are always looking for new ways 10 process and treat vocals in order 10 add Interest to the listening experience. When 80s fashion came bad< In vog ue. In fact. with as few instrument parts as you can reasonably get away with. This has the knock· on effect of increasing your musical palette. while It's OK In principle to disagree with what everybody else is doing.ssbreedin. The perfect pop song sounds both new and familiar at the same time. but the pop industry Is boooming Increasingly intolerant of sonic shortcomings. either.slhesame theory that dlclatesttlat dec:orating a house in neutral. A lot of modern pop tracks are the result of the cro. TRUST YOUR INSTINCTS Feel free to Ignore everything you've Just read! Well. A good mfxdown Will sound great on playback systems of all kinds.bE! able to grasp whalturns a sound Into music at the most fundamental level. no amount of processing Will save a truly awful performance. Just as they always have done. These are cemmen-sense ml. iV1arch 2011 / COMPUTER MUSIC / 35 MIX FOR ALL EARS For a song to stand any chance of being successful as a pop record. 80s music wasn't far behind FEEL THE MUSIC Stylistic choices can be tough to call. When tetro 80s fashion came back in a few years a carefully considered stereo image will earn you bonus points with the listener. try to be ec:onomical.sound. and regularly chec:k out advances in technology. diverse your tastes are. 50 let your tastes guide you. the better you'II. It needs to boast a spotless and exciting mix. Dip into music's history. not just music.LESS IS REALLY MORE These days.g with your rec:ordings. LOOK FURTHER AFIELD Keep your finger on the cultural pulse. II needs to sound good In a club. challenging or overbearing In any way. This has the advantage of making everything supremelY bold and clear. see in your own ideas.s all well and good listening to other artists' music and analysing it. good vocals still require Ialent. You don't need to reinvent the wheel. On the other hand. Ignorant critics might suggest It can. full. Similarly. ___The theory is'that eacll sound can bE!mixed loud when !hel'e~ little for It to compete with in terms of headroom and frequency space. you could be on to something huge. Sometimes anew piece of software heavily defines what will be heard In the pop charts. It's bE!stto be aware of all 01 these things at some level. which is exactly what's needed. If you're right. there's no excuse for justgeutng It wrong because you wilfully Ignored the reasons things are done the way they are. the more potential you'll. a big.just make sure you lake these ideas into consideration.Jt also needs to sound good through headphones. However. the overall aesthetic of the song should be highly accessible.x suggestions that should always apply. Without meaning to play down the role Of technology. colours will increase its rental prospects. that hasn't been done yet. Also.On the flip side. but the fewer elements you use. leave plenty 01 space for vocals to sit on top 01 everything else. Easy to listen to doesn't nec:essarily mean lacking charader.lf. but It's simply not true that any random bod off the street can sing a pop track. popular culture Influences all forms of media. like a dance or hlp-hop record. Ask yourself what you find exciting about it and consider What might work. so too did the sounds from that era In popular music. but make sure you prioritise modem music to gel an Idea of What turns on the current generation. but there is something to be said for innovation and originality. It might seem somewhat counterintuitive at first. WORK THAT MASS APPEAL You've gal to be sensible to a degree and keep In mind that in order to appeal to mass audiences. the low end extends low. the rnoremuslc you understand. the vocal performance no longer needs to be Impressive In the tradlllonal sense . 50 make a habit of experimentin. The more . EXperiments In this area are likely to lead you to unique soundS that have their roots In trled-and-tested formulas. Above aU. and the bE!Uer equipped you'll be to develop a simple idea Into a full·blown song. While production elements within modern pop can be grUtyand brash. Such clues should help you to lap Into the trends of today~s modern multicultural society and get a headstart on the next big thing. the song and the overall production is almost never harsh. If you strongly feel that breaking convention 15going to work In a specific case then don't be discouraged from launching forwards .. so make sure LISTEN AROUND Listen 10 lots of music to expand your taste.sound Is absolutely essential.but It does stili need to be impressive generally. the danger of being too neutral Is that you rlskbE!lng boring.g of different genres.

Pop industry tips
The Internet. Is a domain In which music runs 'ree with it.s clothes tossed to the side and Its hair blowing in the Wind. It might seem lun or even liberating to be able to plaster your tracks everywhere, but if you're wise, you'll c.onslderthe Impact that this might. have on your perceived worth. The Idea of giving away your music fOf free might have a role to playas part of a bigger strategy. but It should never be the only card~ou have up your s.leeve. A&:R teams scoUr the Industry for talent constantly, bu~ f~ can't do anything with music you've a~rl!<!dY .i;liven away.


There are those who'r:ef0mm~d producing unauthorised ~m~~trate your production skjlls andg~~ YAur foC!~In the door. While this may work1oa:asldnally,lt's far from the normal route-Into the lridustry and comes with many potentl~1 pitfalls. Make sure you know where you stimtlJegally iClnd choose your words wisely so as to m.ake-It clear what your' ultimate Intentlons~,re. At best, this is a difficult path to take. IIyou feel· this approach could work for you, then you must be prepared tor the likelihood that your music will never actually see the light of day.



Making a name lor yourself Is a good Ihlng,but giving away 100 many of your lracks to get there I5n'l- and a windfall will be harder to come by

If you're going to take Future Cut's advice and fancy your chances at producing a local talent, be sure to be clear on a set of agreed terms. As a producer In toda.y's Industry, you're likely to contribute ideas that qUalify you to take a share as cowrlter. You need to be careful In theeany stages, because If you have a disagreement, the artist could quite leas.lbly, sign a deal off the back 01 your hard work. that you don't see your fair share of. Inslsl on getting everything In writin"g with slgnatures·~ Vqu may later rely on It .In court.

the track promises. they offer have they

record of any outfit making big Ask yourself whether or not what Is relevant to what you do. Who helpedbelore, and In what. ways?

Get Intoreal·Ufe networking. SOmetimes. who you know counts more than what you know. For example, at music Industry shows there are often demo auditioning sessions with industry heads on hand to give real· world advice. and you might just catch them outside said session for a friendly chat. Failing that, you're stili likely to meet others who might be good to know. As you goabout you,. business making music. make a point of being-friendly and helpful to everyone you meet. Reclp.rocity can go a.long way.

Forming a band can be a good idea when trying to get that big pop break. Many bands confess to being heavily Influenced by bands that came before them, which Is OK - but make sure you're not the band who Wish they were another band. There's a market for Impersonators, but It's not the pop market. If you really want to model the success of another band, particularly one that was popular decades earlier, you should pay more aHentlon 10 their attitudes and the things they stand for than necessarily the musical choices they made at the tlme.l.t's vital to connect with the aUdiences 01 today.

Breaking into pop musfc is on_the to-do list of so many budding producers that a whole Industry has grown up around It. As you'd expect. some of these are better than others and there will always be dodgy organisations preying on naive musicians looking for success. What's certain, though, Is that you can minimise your risk on your way into the Industry by thinking smart. Always check

One way to get your tracks in front of the right ears might be to enter competitions. There are plenty of songwriUng and remixing competitions that are judged by professional A&:Rpeople. This means you're up against stiff competition immediately, but If you come up with a strategy, you could use the situation to work fn your favour. The aim here Is to stand out. If you can flaunt something a little different that's of a high quality and meets the spec, then you could be on to something huge. Don't necessarily make your goal to win first prize, but Instead strive to impress and get noticed.

There are lots oll~al Issues tied up In music; production, so make sure to cover your back With signed agreements

Once you've got some music together that you're happy with, It might be an idea to approach music pUblishers first and lind out what they can do ter you. A good pUblisher will have all the right contacts to help you find artists to record your songs, orto help you get .signed to a decent label II you've already recorded them. They'll also be able to give a degree of assistance with legal Issues, potenUally even helping you to draw up contracts for session musldans or anyone else you might have worked with. They can sign on a per- track basis, too, so there's no need to sign your soul over. em

36 / COMPUT.ER MUSIC / March 2011

ARTlSTs ...... ~~

I'ut the DVD"RQM in your DVD drive. without having to pav a penny. just copy the plug·in n Ie into you r VST Or AU plug-im folder as appropnate. Drowse to it in Explorer/Finder and double-click Co rnputer M u 5i c tor OS)( or Pc. Read the disclaimer and click Accept when you're done. Sottwa . simply copy them to yOur hard drive.simply double·click the installer icon and the application does the rest. by rnakl ng a sa mple CD with them To <nstall OUr samples. However.. Z The main in terrace will open Mouse over tile lin kslor each section to get a briel description of their contents. ond wait lor the interlace to eppea r. .EL J An Explorer/Finder wrndow will open s~owll1g you the cooteots of that foldel Any executable files can be run directly from the DVD by double-clicking them Demos are generally presenl1"d as msta lie. If i! doesn't our case.vst or corrponeot (Mac) ~Ies. even if you end up commercially releasing your werk The only thing yOlJ canrdo is redlstnbute them as samples .eg.To "plug" tI'1e plug·in into your VST/IIU host. and click on your button of choice .. let it spin up. but check any Readme text files 101 addillOnal Installation Informa non Most of the prog ra rns on the DV D-RQM are presentee! as msta lI'ers . . Every month we give you a weillth of royalty-free sa rnplesl You can use them ill you r music in any way you see lit. pluq-ms are olten presentee! as !:III (PO.applications. as appropriate.


.ft_&~'WiooeI -Ci'~.~ [J "I'R~~"~GIIIIb~_-u.. ..~ __ .


J The Nextmen have remixed and collaborated with a roster of A-list stars. remember to read the man ual nrst. send an email to suppo rt@full. and watch openmouthed as they demonstrate their automation techniques in a sneak preview of a newtrack.lrenet. In the unli kety event that you have trouble with your Take heed otthelr tips as they break down a funkfuelled demo for hot new band The Milk. . Should you be u~lortunate enough to run Into any technical difficulties with the and they!1 ~lelp you out Please do not phone us. you should first refer to the software manual ths is often delivered with the softwa re itsell or is sometimes placed on your hard drive when you run the Insta Iler.Artist ii91I'45i"M. as we donlgive tecrn ieal support over tile telepnonet II you experience a problem with your sortware.they are probably betterequipped to oner you the support you need than we are. it 6 often best to get in touch with the developer 01'that software . II'you find that you don't undentand some 01 H1e features 01 the so!lwafe.


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perhaps from a mic placed underneath. The concept of how much audio recordings should be tightened up Is a very subjective one. The long instrumental in the middle is great in the way that it builds and then changes back to the intro theme. but there's nothing like the feel of a good tight rhythm section. he's also just tied up an album with Seun Kutl.reader music / What's wrong with my mix? Experienced studio hand John Reynolds dives into the diverse world of live band music with a critical listening of Feal Real's energy-laden punk rock track John Re nolds John has produced so many Irish records that he lives the life of a celebrity whenever he visits the Emera Id I think in this instance I would at least edit between drum takes to compile an overall good part. angular guitars. but there are a few howlers .it's more like a middle eight that appears once than a post-chorus tag that appears three times. FEALREAL > What the artist says uThis track came out of a previous project and was transformed by our new synth and line-up_ The lyrics were Inspired by cell·phone!fealreal It's good to hear a 'real' band complete with human element in these pages occasionally. followed by a chorus of 'Radiation' chants. This band clearly owe a lot to the influence of Devo and the post-punk period in general: fervent drums. Theogen Disco 1:H11fJ fflil i www50undcloud. shouty vocals: There's a hint of The 8-525 in the female backing vocals. but I think the vocals could come out more and bite. and there's an intention to pretty much every part. Windows 7. guitar. with bass (and various other sounds) courtesy of a synth. The song loses drive When this comes along and feelS like It's peddling water with the tom-led beat . and this is followed by another chanted vocal section of 'Masters of the universe'. I would like to have heard the 'Radiation' chorus come back In after all the instrumental sections. Rode NT1-A. son of Afrobeat king Fela. The song structure is a very loose 'pop' one interspersed with several different instrumentalseclions. What's great is the energy of the piece. There's an obViOUSverse that happens a couple of times. One thing that strikes me is the looseness of the band.especia lIy the flilin verse one.4GB RAM. kids taking random drugs at raves and the ongoing economic meltdown_It was all self-recorded and produced using budget mles and software_" ~lm!IIii1i51il!:ilX!l Self-built Intel 15PC. Overall. The recording Is Intentionally lo-tl and there's an excitement to the roomy nature of the kit. which for meis the weakest of the three. The mix feels a bit flat and dull on the whole. I like the balance of the guitars and saxes. Shure PGDMK6 drum mlcs.Voxengo. sax and vocals. and it makes for a solid foundation . despite Theogen Disco's technical flaws. plus PSP. M-Audlo Fast Track Ultra. but the snare could do with a bit more fizz . The trick is knowing when to stop meddling. Stillwell and Wave Arts plug-ins_ fvlarch 2011 I COMPUTER MUSIC I 47 . I still like it a lot. Cockos Reapet. To a point this is good. Currently putting the finishing touches to a Sinead O'Connor album. The band line-up is drums.


producer masterclass / make music now < Software converts > W. and later Dom bought Logic 6:· Since embracing the world of Logic the pair haven't looked back. www. "but It was fucking terrible for MIDI.olce for The Nex!men Second choice After Studio Vision disappeared from the scene. We can rap on these beats' . funk and soul. "We use Serato for mixtapes.and UnnDrum groove. Between us we listened to a lot of old jazz. reggae. "At the very beginning of actually creating music. which combines hlphop-inspired electroniC and acoustic beals with more traditional instrumentation and big vocals. That's when I got into using the soft svnths that Logic offered.g·lns AudJoReaJlsm Bass line 2 Camel Audio CamelPhai Lowcoders KlngDubby AlphaCM CM·5OS ZebraCM 2x Rane TTM57SL mixers 4x Novation Dlcers ThIs Neumann TlM 103 Isthe m Ie ofch. which you weren't suppose to be able to do. and then rappers heard it and said. We·d do sluff like creating delays on screen by copying out the audio and automating' the came with loads of really nice quantisedgtooves from MPCs. which Is due to be vocallsed by Dynamite MC and showcases the pair's clever use of master effect automation. Modern music software is great and really flexible. We caught up with them in their North London studio to find out how they make their funky hip·hop-Inspired beats. So how did The Nextmen find their groove in the first place? "We both came from musical families. but it worked rea Ily instruments. have become one of the UK's top production outfits. The Nextmen had no choice but to look elsewhere for their software needs. and though their studio is still packed with exciting-looking vintage kit. "It was made by a company called Opcode. In this tutorial and accompanying video on thecm DVD.The Nextmen. and Brad heard them and thought they were pretty good. Commix and Corinne Bailey Rae . and editing audio was really simple and intuitive. and we were lucky enough to be brought up by parents with really good record collections. they now work predominantly In the box.-5 preamp API550b TL Audio CI 'Ko rg m1croKorg Moog Little Pllat. but if I still had Studio Vision then I would prefer using that!" It a lot now. We keep that on our laptops for working on sets while we're travelling. The very first Nextmen album started off as one of these instrumental hip-hop tracks. aka Dominic Betmead and Brad Ellis. "We used to use a piece of software called Studio Vision. and It would crash a lot. The Nextrnen's four-deck DJ sets are also now computerised. and we decided to get together and make an album together. but It was terrible back then." Brad interjects." The Nextmen are also in-demand Selected kit list HA. I was making beats. We managed to get Logic 2xVamalla HSSOM 2xPMCD. unlike Traktor. like a Ninja Tune thing. who made MIDI management software. There are advantages to vinyl: if you don't get feedback then a good vinyl record is probably the best sound you can get When you're playing out." begins Dam. I was already doing some experlmentallnstrumenta I stufl with Roland's first sampler. an 510. and they "Serato is brilliant: you stick your laptop in your bag and you can play any set you want" stopped making It. The Nextmen's first tracks were made on a now largely forgotten program that the pair would still like to call on today. They've improved Iv1arch 2011 I COMPUTER MUSIC I 49 .. : IMa Apogee Ensemble Vamalla02R Bellringer BCF2000 Neumann TLM 103 Avec! Is MA. which allows you to work completely offLine.BI Beyerdynamlc DTno Sennhelse r HD-25 Native Instrumenls Kore 2 SOFTWARE LogkPro Native I nstrumenls pi L1g·lns Spectrasonlcs pi L1g·lns G For<:eplug"lns 016 Groupplug·!ns RobPapen plu.lth four albums and an impressive roster of collaborations and remlx. the SP-12o. "For a long time after that we used Pro Tools LE with a Digl we just went with it! . But Serato is just under their belts -Including acts as diverse as Public Enemy. It was really good software . I was actually really gutted when it was discontinued. including Plan B's new band. "You have to have It all plugged in to do stuff." says Brad with relish. so we were just usi ng samples and a hardware sampler. and they're working on a variety of intriguing projects. The video also includes a sneak peek at a new upternpo The Nextmen track Must Try Herder. "One thing that Serato don't do well is that they don't have very good offline stuff.5 working with it. podcasts and OJsets all the time. Brad explains how he produced the demo for Essex funksters The Milk's track Kimml.RDWARE Dual-COr<! . This was pre.o.vou've got your whole record collectlonl" But The Nextmen don't solely rely on Serato for their DJing needs. Then they were bought out by Gibson. Dam explains. You stick your laptop in your bag with a few other bits and you can go anywhere and play any set you want . with Serato replacing the mountains of vinyl they previously lugged around.01:· recalls Brad.

" Dom: aGuilar Rig . WUh the pitchshift. On the backing vocals. They've got an old honky· tonk plano that's completely out of tune. Which can be good for cabinet emulatIon and has a great interface. it's a really good way of limiting them. I used Logic's Tremolo for movement. and I've blacked out f and F#. but it's either that or have the plano totally out of tune. but It's really easy to pick up and fiddle about with. I used the Logic pitchshifterto put it in tune. With the pitch correction. There's also some Space Designer on this. I created a user scale. and a plano plug·ln doesn't sound as good ~ so 1preferred to leave the real piano part in and just ac~ept the glitches. so when they recorded the part it was about 35 cents out. They like to record lots of backing vocals togetherthey're like an Essex gospel choir! I used a II !lIe bit of pitch correctlon and CamelPhat as the compressor. Space Designer and KingDubby." Brad: "The vocals were also recorded in the band's shed. I've also put the vocals through a bit of outboard and the TLA compressor. H 50 I COMPUTER MUSIC I rv1arch 2011 ." Clay Brad: "The clav Is Logic's evd6. We used NI Gullar Rig. plus make your own's likely there's one small part with a duff note rather than the singer needing overall correction. I used Cytomic's The Glue compressor and Logic's Tape Delay.> make music now / producer masterclass The Nextmen break down The Milk's demo track Kimmi Vocals Brad: °The track includes a piano part that was recorded by the band In their shed. you get a few glitches.made in Omnisphere and sampled.15 pretty good ~ you can get any sound you want from any decade." Sweep effect Brad: "1 used some sweeps that I. and automated a band'pass filter with lots of resonance on it In CamelPhall find CamelPhat to be a really good choice If you want to automate a low· pass or something with a bit of character ~ It's not really flashy. I also used a couple of dlstorUon effects and a spring reverb to add a bit of bite to the clav sound.l've used The Glue. an EQto get rid of all the low nasty frequencies.

I find a frequency In the bass that Ireally like -II's usually somewhere between 40 and SOHz .and just turn it up a bit.t and see. especially the snares.M Ih I::. so we mixed the li. but now that there are more advanced ones and better plug·lns. so When the kick hils at the same lime at the bass. "·The snare Is made up of a dap and a snare. it's a very good starting point for mixing the rest of the track. and then you sample It. It's really simple willi just a Release time and an Amount." Brad: "The kick just has Stylus'limlter and a vintage EQ on it. to get the perfect beat. "I grouped the drums and used a CamelPhat compressor. and if it doesn't sound good then we go back to the drawing board. U's really nice to be able to build the track around something that you know is good already.a bit like a Space Echo ~ but It sounds nlce. it sounds so good that we build everything around it. Which mainly came from Stylus RMK" Dom: ~We do tend to use quite a lot of the Spectrasonics plug-ins. really quickly with them.ljust kind of suck I. There's another kick that adds a little bit of top to the sound.N Snare Brad:. Brad: "1 wanted to get the drums down to a loop that Icould use. which works really 'nicely as a kind of overall reverb for everythlng. the guys will create a separate project for it. It gives the drums a nice breathing effect without losing the punch of the Individual to the guitar group: Ijust used Loglc's Compressor and LogiC's Tape Delay." Brad: "There's also a tambourine the lads recorded. If you're not careful with The G.round with the preamp output and dry/Wet ratio until I found a setting that Ithought sounded good.I took the sounds. for their recordings. These newlhings help us get up to the standard of sound ttlat we used to have with hardware. Even If you do. Iwanted it to sound like a hip·hop kit. people would sample drum loops and use ttlem." Brad: "I also used KlngDubby on some of that guitar. but It's pretty much as It comes. and they did give you a particular sound. It's brllllant!"cm March 2011 / COMPUTER MUSIC / 51 .ve kit recording with electronic: sounds. We find it really quick and easy to use. It's a free plug·in and the delay is always completely out of time . you don't boost it very much. If you want things to sound different and cruncby. Ihaven't even EQed itat all!" Dom: ~If we find that an instrument has a really nice overall sound to it. "I grouped the kicks separately usingl CameJPhat's compressor and a simple EQ. tuned them and then effected them !l~li. boost the kick around SOHz. you can just go with it. and old samplers like the origina'i Emulators. so you can just tum the compressor up and down. beats are a big part of what The Nextmen do. we put 016's Decimorton the snare mic.nd you can get things sounding at a good standard really. This isa sample from an old disco record played via the EXSZ4 with apretly extreme EQto take out all the bass. rather than laking anything out Of the sound or adding anything at all. These are also from Stylus RMX ~ the Claps 01 and Snares Snappy menus respedlvely. It was harder to emulate that with with early soft samplers. Iprocess them with the standard limiter and EQ. got the drums sounding good and then imported just a stereo file ofthe drums into the song project. we can get really fat drum sounds that previously were only aUalnable with that old kit. so hopefully it gives you a similar sound." . a.' go for the Old Vintage preset.f!!! 0 ." Dom: "We find things like bltcrushers really useful because back in the day we worked with E-MU samplers." mess around Kick Brad: "We wanted a hlp-hop feel for the drums. and you can create some really dynamic stuff with it.just as you would If you were sampling off an old record.producer masterclass / make music now < Beats With their background In hip·hop. and KlngDubby is the one that really does the job. Plus you can also use sidechaining. So.Dom: "It's great for us because we've got a real Space Echo and a few years ago we used It In Just about every track." Brad: "I used D16 Group's Declmort over the whole drum group with the MPC60 preset. so I created a separate drum project. We were always looking for something that could replace It for when we were working on laptops on the move and stuff like that. You'll start with the same limitations." Acoustic kit :Brad: "For theacousHc kit. "Making the drum beal In its own project doesn't necessarily make It harder to mix the bass and drums together. it'll distort too ~ but I've deliberately done that in this case to give the beat some extra distortion." Dom:"There are some plug-ins that you use for shaping and making sure things are smooth ~ simple compressors and EQs ~ but CamelPhat Is most definitely an effec:t. I won't generally too much with Stylus itself. We usually try a few different things. When making hip·hop records. and a limiter in The Glue plug·in to flatten it. If you've got a really nice guitar sound like this and you don't fee! like there's too much low end in ii. I use Logic's Spac:e Designer. We find them really good for gelling things started because there's so much on offer. say. I've also used the Decimort on a live clap with the SP-1200 seiling. The easiest way to do it in my limited experience Is to start with the drums and work around them. When EQing kick drums. Guitar Brad: "I took a really simple approa. it lowers In volume. Again. Ifiddl'ed a.or a bit unpredictable. and It's the same process really: you make a drum loop and try to make It as good as's a bitausher that emulates classic drum machines like the SP-1200 and the MPC·60." afterwards. Quite often. Decimort is a bitc:rusher and it makes the whole drum set distort.lf we take a synth line in from the Moog. which has got a bit of reverb on It Generally. you just switch It on and mess around with It untt! you find something a bit different.

30Hrs MDN .TELEPHOI¥E 09. retro ser-rt :sounds "IOU .l'IelJd! Trailer Voice 2 Collection. You're really goifPg to li/(.. '" '" '" '" <t '" o '" a: "" ci I'" w "" U )( w '" o Z iii '" s o o z Designed [0 compact.-c/rflss rcr.. . DO MORE.. Effectlpage Ivory ll eiso cesves sene ct Syrrlfloogv'smea IFCqLl~M customer requests.CDM "When I gOI Ivory into my computer and started 10 use it.. Alien Skies CInematic Amblen ••• ..e it.oif'lg to like this coe. w~hQut '" o '" 0:..e~tures.. . and Turong Jeblee tc pmvlde ecen qeeeterderell andcontml. wf'lfl f(:..95 . o a o "" :::> I- x Ie '" z <t ~ :J: U o lm :::> IU . Y. of powerful.IFPetlaliflg:. £:54. Pe:dal Noise'.85 Live 8 £36. <t ·YOf{re' g.pvlGs IX o!il w"{}rld..~.·makrng{f/~ sucl'i as H.£<l9.. .'95 . . Sefiouslv. and rnere.2 Pi)warful]v·emotii)n~1 an d evocative soondscepes. 'a:t1ras" pac'k. M. £ a~Otlnd..00· 01837 55200 1 7..""n 5 £36. Discover the people behind the products and the artists.. J.. composers and producers who use them. "" -' -' <t ii: £65. drones. ~ ~ a .India lndian percussive rhvthrrts blended with fun Hip Hop bests. !Ii u i= o z 0:. I. Boddv Bundle All the parbled "Voices.85 .. 0:. KoR1akt £24..85 WaveLab 7 £36. "" o 0:.v £60. "we' learn the' software so you can create the music" Kontakt 4 £26..FRI EMAIL SALES@TIMESPACE.::a·01iarcu. jackln' 'beats and twisted s.ynths..95 each sample libraries :i i= ~ I- u 'w a: '" u o Bi~FistJAl!Idia iNa'Rfcrms Scnoklnedc ZsroG Si!lmpl9M'ag1(: ZamG '" !II U Hip Hop . dramatic Bod authentic V0i.{W$ producer..85 Rea.. a rimiled Moslt w <Ii w '" .95 ~1M uMorrfl~ '£14. affordable.~ OJ . I.S\' 10 ha n die plug'.85 Cuba s eEi £36." romp rem ising sound quelitv a r coni ru L r musicians and producers in need of a. III Expand fZdrumm" with EZXpander pecks .95 -W. W~". IlY8Specriv~ Df wherJier YQu're a CDmpuf'er musk.95 . . Multifgrmiill tutorial dvds LEARN FASTER. the sound was so beautiful thai there was 110 question this would be the piano sound of "Octavarium ".. '..l.85 Logic ProBlS £36. e...jlmm" Electro Pumping 'bass." ~ Comp'l. Lid Pestlcn.95 ~ Mu ~i!orni~ The Paradise Sessions fiOOsamrles and 35 conetrucdoe kits of the coolest IMouss ~muf. . mangled electronic drums.. • ~.

are In the fLuortal FlIi:!S fOlder Badly programmed virtual instruments can make a track sound robotic. So.. In this tutorial. real istic MIDI performances .s of our tinkering. bow and strum three groups of Virtual instruments into convincing reality. On theem DVD you'll find a collection of great Kontakt patches with Which you can try out the techniques we discuss for yourself. Otherwise. msnv of the walkthrough examples might seem a bit over-humanlsed we've done this deliberately so that you can clearly hear the effect. you can achieve so much more with a bit of technical know-how and some clever programming. but we'lI also be showing you how to transform those sleepy samples into soulful solos for use in your pop. In order to clearly demonstrate the techniques that we're illustrating. You would expect this kind of thing to appeal pri rna rl Iy to those writ ing pa rt 5 for 0 rchestra I Instruments. and: hello to 'ffl.let's get programm ing! ivlarch 2011 / COMPUT. but it's stili all but impossible to find a perfect trumpet emulation that fools 1:lsleners Into thinking ItiatLouls Armstrong is right there in the room with them. to the bone creating a beautiful melody. so we'lI also be exploring how to get the best from those hidden articulations. however. we're going to blow. mutes.make music now < eeping it real A ran!Jli! of e:o:clu5ive nee KQntakllJatches trqrn IfI1D8CtScundwoeks. Remember. but with these techniques you'll fool even the sharpest of ears > Virtual instruments have improved in leaps and bounds in recent years. bUilt's all In vain If the essential human touches aren't1here. Jot'IF!I'IammF!l"Clnd Indigl nus. that making instrument emulations sound realistic is a very subtle discipline. finger sounds and slides to some basic rnu ltlsarnpled Instruments In order to bring stiff patches to life. you risk your pieces ending up sounding like a high school band rehearsal. say goodbye to robotic ROMplers.However. You can work your finger. so exercise taste and discretion at all times. rock and dance tracks.!11es our audio examples. Many producers mistakenly consider a OAW's humanise functions to be their only option when it comes to adding real-life performance characteristics to MI 01 parts . We'll be adding breaths.. Keyswitching is an important aspect of any good multi sampled instrument.ER MUSIC / 53 .

Of course. When doing this." ('" I ' . The wind Instruments that are most viable for realistic emulation are those that can hold reasonably long sustalned notes without too much tonal change.. we ad d some short notes at low velocity (in blue). Phonehammer Buttons (also on theem Dvm. You can hear hOW the track ties together with the extra instrumentation..wav. which normally all play in unison or harmonic pairs.wilY) > 3 Next. r. for example. (Audio: > 3 The sections complement each other when mixed together. Next... These Imitate the SOLlnds 01 the keys falling back onto the pipe during the staccato sections.' -«: \ _J .J. We draw the frequency envelope in manually. clarinet and ~ to a certain extent ~trumpet can be played In legato style reasonably naturally via MIDI. as a real orchestra only has three flutes. ii"':='·. The audio clips could be whole runs of notes. One of the most effectlve ways to build more intricate wind parts is to mix audio dips with programmed MIDI passages. but you could always sample your own inhalations or lind an acappella track and capture on Iy the snort breaths bela re IInes. with just enough realism to fool the ear (Woods·final. we load up some woodwind runs and short sections to weave around the melody. we use a 'short breath' patch from th e Terri 5010 vo ice lib ra ry from Toneharnmer (www. chang ing the pitch each ti m e to p reve n t repetition. so we add the rest of the orchestra in a rough mix using more sounds from Symphobla.. The samples are on the ern DVO.. Two ROMpiers running in tandem like this help to smooth over the inconsistencies In each. again adding delicate (although barely discernible) human im pe rfectlo n to th e tra c k.i "'. ng the sta ccato and legato patches from Cinesarnples' Hosvwoodwmds. don't laver a flute run over another flute melody. however. > Woods·prereeords. Then there are all those complex overtones and harmonics found bouncing around In the horn. For example. (Audio: Flute·brealhs. We double some parts with the woodwind sustains from ProjectSAM svrnphobta. Just keep it very low in the mix.I I I 1 In Garrltan Personal Orchestra.. special effects or even samples of the player breathing and moving while playing the instrument. there's a very good reason that most wind instrument plug·lns and ROMplers sound rather flat by default. we call up the flute's kevswttch articulation and add a hlgh·pass filter to the track.wayJ Woods·orchestration.) > 2 NeKt.s not only bend notes using the reed itself. but there's also a lot going on with the lips. '. ··\. You could just as easily use samples 01 any small knocks or even edit a drum sound. . throat and diaphragm. French horn. Yes Indeed.way. Adding breath and finger sounds . We insert the breaths just before each phrase.. (Audio: Flute·pitch. Flute. be careful not to overpower the melody or double the instruments unrealistically. We double the octaves In the last section.tonehammeM»m).. (Audio on theem DVD: Woods·melody. but we could also tie the filter to the modwheel or control It vla velocity: The idea is 10 make the staccato notes bright and the longer ones relatively dull. to add very short noises. Take the saxophone. Sax player.\. you would very seldom hear only woodwinds in any track. the fakery behind the music 'Inevitably becomes more obvious. a single liifelike performance.wall) > 2 The pitch bend is acjusted throughout the refrain. in order to fool the ear into thinking that the whole thing.> make music now / keeping it real Mixing MIDI sections with pre-recorded phrases 1 We build melody and harmony lines us.) > 54 I COMPUTER MUSIC I Ivlarch 2011 . These are called grace notes and are used by wi nd pi ayers (a nd other m usici ans) to add interest to a si m pi e m elod y. As soon as the phrasing becomes faster. we use another Toneharnrner library.wilY) Wind instruments Let's deal with the trickiest first: sampled wind instruments are probably the toughest of all emulations to program realistic MIDI parts for.' .wav_) > 4 Finally. (Audio. reinforcing the melody.wavl. (Audio: Flule·flnal. (Audio: FJute·hlghcut. . Interacting with each other.

wav). Pitching on wind Instruments Is rarely 100% precise.wav.) > 6 lvIarch 20]1 / COMPUTER MUSIC / 55 .Emulate this by mistuning the starts and ends of notes with pitch bend. we copy the MIDI information to Ttac:k2and send it to the Mute trumpet patch. growl and slur are essential In simulating wind instruments effectively.wav. Wealso draw In the speed and depth of vibrato. we draw in more expression curves to provide some growl and tonguing. All blown Instruments are relatively quiet compared to other families 01 instrumentation. the modwheel.when you run out of breath.g with the wind part that you're writing . Next. We've added a little reverb and a guitar line to create The Good. we're using Sample Modeling's The Trumpet. you can take things Estep lurtherby morphing between sounds rather than simply crosstadlnq. All you need is two or more variations on the same instrument.It will switch between the two samples (Audio: Trumpet·mad. It's hard to program all of these simultaneously while playing a wind part live. double It with another or use a brighter alternative like a piccolo or trumpet.l > Think about the limitations of . Trumpet-expression. 5 Now delete the original two tracks End record a new one.invest in a wind controllet'". The other envelopes can be drawn In later.gth of breath.w3v. This is a kind of oversized MIDI recorder that can be blown Into to create realistic dynamics envelopes. Note duration will be limited to the performer's len.wav. Youcould even use It to mlx in a continuous breath sound on one layer with the instrument sound on the other.but triggered from the same MIDI note. (Audio: Ttumpet-sweet.y before moving onto the next note. Adjustable tonguing. so we chance the Amount to +1-10 to smooth the transition slightly This creates a sweet spot on the mod wheel where the sample switches. be set up to only use the Incoming breath expressions. Software like Prcsonlqs Morph CEncreate a smoother transformation between samples. Hold tile note and adjust the mod Wheelto simulate a trumpet player opening End closing the end of the trumpet with a mute.) > 2 SUrlpr. EQ It differently. the human player. spilt the currently playing note. and the trombone also needs pltchbend for the slide. It doesn't matter if you can't play a wind instrument. With the right can use any software sampler with assignable sample crosstaoe.) > 2 Next. wind players correct pitch errors after a few milliseconds. Westart by recording E basic melody using j us! key velocity and expression via MIOI CC1l (Audio on theC". Weexport and load the tracks into Logic's EXS24.we In set Velocit.(Audio: Trumpetnomute. the Bad and the Mod Wheel! (Audio: Ttumpet·final. "you want to go all·out. As you play the patch and move the Wheel. and will shorten at higher velocities as the player's lungs blow harder and faster through the Instrument. so go for the parameters that have the biggest impact on the sound first ~ expression and vibrato. SI. If you want an Instrument to stand out In the mix. 1 For this walkthrouqh. valve Instrument players (eg.U'( &1<1 2QOQOO 1671161 200000 1671168 fO!!4o G G 3 eJ e'l 87 G 127 16 3 The samples are mapped to two different zones in EXS24. Trumpet-mute. Bear this in mind when mixing and refrain from pushing too much volume out of single Instruments. Weturn off the Pitch option and set the zones to trigger at different velocity levels by ticking the Vel Range's On checkbox. If you're concerned about the realism of any particular instrument. trumpet and french horn) are physically unable to depress each valve full. as most can. Emulate this by blowing alon. This particular plug·ln reco9nlses s lrn uarei ements In you r two sounds and then auto maucaIly matches them for you. or by heavily muting some notes during a run. but you could crack it out for single notes mapped across the kevboard for almost any Instrument.wav. Much like string players. This is a bit abrupt. and configured to control simulated breath sounds as well as vibrato andportamento. DVD. an excellent solo trumpet for the Kontakt sarrjple player. while you use your MIDI keyboard to input note values. then setting the natural trumpet to trigger at velocities 0·86 and the mute trumpet at 87-127. > 4 BECk the tront panel 01EXS24. so get hold of the most expansive sample libraries/ROM piers that you can. 4 5 >Take it further We've used this technique on a whole mustcat phrase.You could use any brass soundset. double it up with anothet'" to disguise its flaws. although you will need two versions of the same Instrument. the better.keeping it re Using crossfades to emulate a brass mute make music now < Programming the winds the more expression patches you have at your disposal. resulting In many half·tones and someslulTlng between pltches. l As with any other Instrument.y to be controlled by CCl. During fast runs.

Irs a good idea to miss out th e to p notes of the chord 5 on these extra str ums.corded up and down strums to use asa starting point. and t'hey roughly correspond to real guit~r finger positions. Different articulations are available th rough au t the Increa sIn g veloc ItIes.l Programming a realistic guitar solo 1 We're using the Indiginus Acoustic Gu ita r Collecti on Ko nta kt ll bra rv again.plectrum to produce separate notes. remembering to keep the chords the same.) > DVD. and recreating the sounds of finger movements on strings. but we've included one from the Indiginus Collection on the em DVD. success invol. (Audio: Glt-s-final.WilV. The strumming movement can be emulated on a MIDI keyboard by rocking your handsltom the thumb to the IInle finger backwards and forwards. (Audio: Git-il-moved. as In the walkthrough above.g the strings with fingers or a.ves allowing for and programming playing errors. Glt-s-Qrlglna'l. There are some very good plug-Ins out there that can help you to achieve a realistic sound. 1 We load our multi sampled guitar library . (Audio. or vice versa. Some plug-ins help you out by providing pre-re. (Audio on theem > 2 Next. boosting ldB around 2k Hz and roll ing off the bass freq ue n ci es a little.l > 2 > The sequence sounds a bit robotic at the moment.on is to enter MIDI notes by hand. A sustain pedal Is useful for holding chords until the next chord progression starts. Yo u ca n use any patch you like. The firstthing you need to do to emulate this Is tum quantlse off in your MIDI sequencer.wav. but this canlle tricky and time-consuming.l > 3 We finish off by putting in finger stops at the end of each phrase to replicate the changing of finger position by the player. (Audio: Git-a-Ilnal. (Audio on theCm DVD: GU-a-otiglna1. We sketch a freestyle melody using the bend and mod Wheels to add small adjustments to pitch and vibrato.) 3 Next. These are at the lower end of the keyboard In our patch. we add a subtle guitar slap sou nd as ea en en ord ends. We then give the whole piece a little warmth and make the stops less obvious by adjusting the EQ. We do this at low velocity to make it as light as possible.> make music now / keeping it real Making a realistic strumming sequence Guitar The guitar Is a notoriously tricky instrument to emulate with MIDI programming. We map out a simple chord sequence. using the sustain pedal to hold the notes and releasing them before the next chord. Git-a-slops.Into Kontakt 3. There are essentially two ways to play the guitar: strumming the hand across all of the strings to produce a chord.wav. we adjust velocities in order to tri gger aItem ative artic ulations in kontakt. Glt-s-Yeloc:ity. 50 we move the notes manually Into tight arpeggio groups. The fast runs of notes trigger the short muted samples (low velocity) and the high notes are finger slides (high velocity). Note that there are always six notes In the Chords.) > 4 > All that remains is to fill in the gaps with a few on-beat str um son a separate track.wav. (Audio. bu t your ROMpier or multisample set might have keyswitch artlculatlcns lnstead.) 56 I COMPUTER MUSIC I March 2011 .wav. or pluckfn. always strumming from the bass note up the frequency range. A strumming action always sees the player's hand move from the top to the bottom string. but they need to be played and processed in the same way as a guitarist would play a real guitar to sound truly great. Rea I g ul ta rl sts use thl s technique to give rhythm to the section while maintaining the leading notes in a sustain. so. which means that strings are never played quite together. we use the sound 01 a finger on the fret board to simulate the chord being cut off.lndlqlnus Acoustic Guitar Call ectlo n .wilv. The other opti. As the sustain pedal comes off each chord.wav.

ll~I~fI'~ll I~".ings with their left hand. (Audio: Glt-r-dlstorted.check out GulbirChordVolclngs. Finger slide sounds and release stops should alway. On thecm DVD Is a PDF that explains how common guitar chords are played on a keyboard . Indlglnus (www. There are lots of multlsampled Instruments and ROM piers out there. we repeat the seq uence and humanise It to keep the track tresh. So. we pan this track to the right. bear' In mind that a guitarist can't pick the strings and use the whammy (pi tch bend) bar at the same time. don't stress out: you can use the sound of any picked in stru ment as a dec ent substitute. NeKt. We turn down the Treble and Mids EQ by 20% each and add a small amount of rever b. March 1 oo @O. as different effects can be applied 10 left and right channels separately. they won't completely mute the strings In between each note. you're half way there.ks. but the two Kontaktpatches we use here are . making the guitar really sing.s be included ." • • CiIl!C"r make music now < Top tips for realistic guitars When programming strummed chords. edged right up against the starl'of the following note. (Audio.chordbook. We add our tavourite gllitar amp pluq-In and crank up its distortion (Gain) 5hreddage Includes double-tracked patches. Don't go mad with the pitch bend.wayJ > 4 Set up your desired effects pluq-Ins on th e tea d tra ck.II·\i"~"'~· . The secret to gre"t rock g u i ta r lea ds Is pltc hbend a nd lots of IranI lc picking.) > 2 Now for effects. We use our sequencer's humanlse function ilgain 10 move velocities and notes. etc. remember to only use chords that guitarists regularly play. We then tie the lead and rhythm guitar sections together with a simple rock beat and push the result tl1rough IZotope Ozone 4'5 Rock preset lor convenience. We use a pre-recorded guilar 'fall' to lead Into the track. 1 We build a basic chord sequence using Impact Sound works' Shreddage In kontakt 3 . It's best to p rog ra m th Is with ou t a nv effects Ini tiadIy.wav.lmpactsoundworks.l > 2 3 3 NeKt we compose a tast lead line on a new track. CAudio on the em DVD. although any kin d of d istorti on/overd rive p lu g. Play these notes back on your MIDI keyboard to create a realistic strum. though . you can dlsqulse the original sound quite effectlvely_ Have a gol S 5 Finally. H"sthe sounds you leave out that will blow the cover of your guitar patch..strummlng loops. These elghth-noles should all be as long as possible.just use It to accentuate certain sustained notes..lndiglnus. Glt·r·loop.wav. When using pitch bend on rock guitar tracks. and add slightly more reverb on this track. In step 3 . w.but you can use anv gult~r Iibr. Impact50undworks' (www. big bends should be used can hear how our picked gu ita r lin e 50U nds rath er like a banjo! By playing about with distortion an dove rd rive effects.) > 4 Pr)'N>=OT'P >Improvise a sound II yo u don't h ave a ded lea ted roc k guit~r ROMpler. www. courtesy of Impact 50undwor. (Audio: Glt·r-Iead·dls. Dragging the end of each note to the very beginning of the next ensures a continuous vibration from the string. ~ w.which Is prior tad Isto rtlo nand overd rive effects being added .com) produce a great collection of acoustic guitar patches for £35. When a guitarist plays hightempo rhythm chords. Instead of 100 pi ng. The musician can also create bends by pushing the str. --". (Audio: Git-r-finaLwav. GIH-lead. we pan the track Ieft a tittle to Ieave space [0 r the Iea d track on the right.wav.CIT ~ ~ ~ OI..) > 2011 I COMPUTER MUSIC / 57 .omtning these will make your guitar sound as If It has a mechanical plucking mechanism! There are loads of these samples in Kontakt fonnat on the<:m DVD.pdf. in wi II do. and the Strum Maker plug-In for creating your own . Hence..keeping it re Heavy metal rhythm and lead guitar =~'Itl". whkh are great for producing rhythm guitars.lth realistic attack rhythms. if you can achieve ~ reatlstlc sound without using distortion. adding realism. but one or two semttones should be the maximum bend within a picked sequence of notes.ideal because of the ease with which thejr artkulations can be velocity-switched. With ten guitars to choose from. Next. We brig hten the Mlds and Treble EQ to make the lead line stand out against the power chords on the first track. you sbOuld use fast muted articulations forthe 16th-notes and then go up to normal mutes for the eighth-notes. featuring a virtual guitar that strums the chord you're after and names the notes it contains.l rv tha t Inelu des chords.comls a great site. we ernbelltsn the tracks with short pre-recorded samples.

draw pitchbend automation on every track: you want to create a sawtooth sequence that builds. fingers can be will the keys at the bottom Clever playing can create would orchestral don't of the keyboard. jumps.l > 58 / COMPUTER MUSIC / 1v1arCil2011 . Listen out for pitc hadjusted articulations that can replace parts of your seq uence to ram ore rea IIstic effect . we use a couple of more Idiosyncratic switches on a few of the longer notes. Finally. we zoom in tight and pick out the notes one by one. then drops suddenly. as jumps note to the next can be 1 We're using three different violin patches from Garrltan Personal Orchestra. but you ca n use any sa m pled vi 01in so long as th e pitch be nd wheel ca n be set to cover one or two sernltcnes.inal. each with different violin patch es load ed. We're using the Yalll Tarnbur from EastWest.wav. These feature ore-recorded pitch bend an d tremolo. We use a sound with a short attack for notes falling on the beat and one with a slower attack for the faster runs. vary the tension position with of their of the instrument which to mention other factors sequences how a player Because Instruments guitar.) > 3 > Now. This will create the slur between notes that we need to emulate the sound of the violinist not hitting every string note-perfect.wlkhlng to emulate someoflhem the angle of the bow and many that contribute sound. of the strings.) > 2 We copy our sequence onto another two tracks. It's eas iest to reco rd this sort of thing Into your sequencer at a slow tempo.wav. (Au d 10on the em DVO: Ethnic·original. portamento of romantic some of these articulations kevswltches. always and with big or fast the player might on not land perfectly in a huge of different use of these switches if you know ways.wav. ad d In gad llfere nt keyswitc h tri g ger (j n red) before aImost everyone. but ad d EQ and c om pression to slightly alter their tones. and sample and allocated the instrument's In ROMplers often captured from one note to the next by moving hand up and down This is called and you'll Hollywood In mind any nu mber recognise scores. while very realistic roughly a phrase. A vlollnlst. (Audio: Vruns·3rd·notes:wav. the right sample Using aMI DI keyboard. then speed It up.) > 2 Next. yo u cou Id use a ce 110 Viola and tra nspose or th e notes Next pick 0 u t every th Ird note on each track and delete the others. the speed have Irets can 51ide their the neck.wav_) Using multiple keyswitch articulations 1 Load a sampled string instrument that tsatures at leas! three or four keyswitch articulations. Alternatively. i Iyou don't have access to different patches.and yoLlr ROMpier probably uses key.> make music now / keeping it real String instruments All bowed played string instruments range for example. We input the sequence Using JUst one sustain keyswitch articulation and the mod wheel for exp ress ion. (Audio on theCm OVO: Vruns·orlginal. are to while the bow is pressed. First we sketch out a last run with our first patch and no effects. llke a string form slurred. out a specific different hand plays the notes bank by selecting When writing from the left hand picks parts. use the same one on ea c h tree k. We adjust the velocities to compensate for the ve r lous artie ul atlons' different vo Iu m es. > 3 Finally. players smoothly the note. it from Bear this string one There are many ways to play the vlolln. (Audio: Ethnlc·.ours has a slide instead of a run at the five-second mark. (Audio: Vrun$·Hnal. to libraries. apply a reverb to th e three tra cks to tie th em tog ether. on the neck not and the firmness of the piece.

keeping it re
Fattening up a weedy string section

make music now <

Programming the strings
Never use quanlise If you can hel.p It. All rea11stic string .samples have an attack of between 20 and 30ms, and dedicated legato sbing patches may have as much as half a second. Quantlse will make your strings playsllglilly behind the rest of the track. If It's necessary for your strings to be exactly on the beaHwith staccato sections, for example), mute everything else and check the string timings against your DAW's metronome. then delay the et1tire track by manually moving the starts of the sections back a IIHle. When using short patches for . string runs in whkh one note runs Inlo Ihe next, you don't need the 'release' samples. Purge them from RAM entirely If your plug·ln gives you the optl.on.lfit doesn't, adjust the envelope Release time to 0 In your sampler, or set Number of Voices to 1. This will cut down on RAM and CPU usage as there's no need to play the refeaseportion of every note during runs.



We're using the EastWestHollywood Strlngs RO Mpier; but you can use any sampie IIbrary th at offers a selection of string sections. Make sure you use clean or clcse-mlc patches, First we record a violin melody. using the mod wheel for expression. Wecopy th is data to some harmony tracks to give the illusion of the section rising and failing as one. (Audio on Ihecm DVD, Legato·original.wav.)



Ne)(t,we create a blank MIDI track and copy/paste all of the sections onto It. We assign a contrasting string library to this track - a full strings patch from Symphobia. A5irs a different library to Hollywood Strings, with different settings, we need 10 edit the velocity data a little 10 make it sound balanced. (Audio: Legato·$vmphobla.wav)





Using EQ.we slightly cut the Symphobia part between 200Hz and 5kHz, and boost the bass and treble. This ensures that our fattened effect doesn't muddy the central spectrum of the track and is just noticeable at both the upper and lower ends of the freq uency seaIe. (Audio: Legato·eq.wav.)



Ne)(twe add a delay.The aim Is to Simulate the slightly ott-the-beat nature of a number of string performers playing together, 50 we create a short 16th·note delay with just a couple of feed back repetitl ons,We keep the Dry mix full and mix In 40% of the Wet channel. (Audio: Legato-delay.wav.)


Invest In an expression pedal for playing 'live' strings. This will cut down on later expression envelope editing. With some practise It's possible to master' playing the melody with your right hand, while controlling vibrato w.lth the left and dynamics with your foot. very quiet strings can be hard to get right, especially In the higher registers, where they often sound too sharp. Use an EQ filter to cut the top end, but raise the CuioH as the notes become louder. This will brlghtet1the frequency subtly as the playing velocity increases. When writing chords for .strlngs, less Is more. To create a full sounding chord you may only need three or four notes. This can be done very effectively by having each of the sections (violin, cello, etc) 'play just a single note. Don" forget to double up. MarlY composers use string sections an octave apart to reinforce a theme or melody. This works especially well with first and second violin sections but can be used across _)he whole range of string instruments.




>Cover the cracks
This technique works very well when working with two cheaper, IeS5arti culate libraries, as th e doublinq-up masks any obvious repetition of samples. As you can hear from our audio example, the soundis pretty massive. so yo u will need to experiment with the wet/ dry and delay ratios of the 'backup' track to suit your particular needs. Becauseour piece 15 quite slow. we can keep the reverb and delay quite noti ceable, but fo r faster passaq es you may need to drop the volume of these Ira cks to sto p the stri ng parts becoming muddled as they run over each other. A rule of thumb: as the playing gets faster, ease up on the effects. .



Finally,we lower the Pitch of the Symphobia patch by 5 cents. We also add a pitch bend envelope. but you could Justas easily detune the whole pluq- In, We add a reverb to the master track to tie everything together - a Drv/Wet mfx of 80/20 sounds good. Comparing the track to the original, there's a subtle but effective difference, giving the illusion of a larger str:ng section. (AudI0: lEIgato"lIna I.Wav_)




Change artiCUlations often: the ear will quickly tire of hearing the.same samples played over and over. Most decent libraries come with a few dlHerent sampled note lengths and su~in.patches, so switch them around to k~p your piece sounding fresh.

March 2011 / COMPUTER

MUSIC / 59

> make music now / keeping it


Resources for realism
There's a wealth of lntorrnatlon available online to help you learn the limits and possibilities of various instruments. The Vienna Academv at vsl.cil.atlen/70/1491152/48:vsl offers tons of advice on orchestral 'instrumentation. including an extensive library of playing styles, all with audio examples. There's also a great online book at to help you put these ideas into practice. Post your efforts on Soundt.loud or Myspace and invite criticism from real-life players. If you know someone who plays an instrument, talk to them about what works and what doesn't within your pieces. They'll be able to pick the wheat from the chaff in seconds. It's difficult to learn to write and program rea Iisti c pa rts if you confi ne you rself to Iisten ing to the efforts of others Who use only sample libraries. Get yourself along to some concerts and recitals to hear the real instruments in action. Try to focus on just a single player or group of instruments, rather than getting carried away with the Whole soundscape remember, this is a learning exercise. There are also many groups on Sound Cloud you can join and poach ideas from while listening to real instruments perform. We had a look and found groups such as 'Instrumental Acoustic Guitar'. 'The F.lute Group' and 'The Beautiful Violin' that contained some great examples of real-world playing styles. Finall)(.learn the basics of an instrument. There are always plenty of second-hand instruments for sale online. as kids give up music lessons every day. Pick up an old, duff one for a few quid and try some online lessons from sites Iike eHow. A couple of hours won't make you a,virtuoso, but you'll lea rn tech ni q ues th at ca n be Ira ns fe rred to your ROM pier programming.

Eastwest·s HDllywood Strings (above) Is'a massive bespoke string se<;tlon ROMpier

LI brarl ... fot samplers like Konbkt havelhe advantage of a standardised Ime rlace

Virtual instrument buying guide
Opening a sample library and being confronted with hundreds of different playing abbreviations can be a bewildering experlence, But although it's confusing, In the world of sample packages, bigger Is almost alway.s beUer. Take EastWest's recently released Hollywood Sb"lngs as an example. It only contains section strings (no solo Instruments), but it stili wei"hsin at a vast 350GB. The reason for this is simply the amount of variation on offer. The good news Is that we're here to help! Look out for the follOWing features When irtvesting In a sound library: dlffelrent velocities can often be crossfaded by moving the mod wheel, and some even apply sound morphing to the samples for a smoother transition. but also the transitions from note to note - the slide between notes ona cello, for example, or the fall and rise of a trombone slide. These realistic transitions are often called 'legato' patches, and although the changes are subtle, they can make the difference between believability and an obviously synthetic pari. same note is played repeatedly. larger libraries will use different samples for each note and articulation; smaller ones might subUy alter the notes by selecting differently pitched notes and retuning them, or using EQ filters on a sample to add variation.

Different playing techniques can be captured and arranged within the sample librarv. Selecting a particular articulation Is normally done viakeyswitchlng at the lower end of the keyboard, or by changes In velocity. ,Some ROM pier engines can analyse the playing .style and automatically switch articulations accordingly.

This isn't a deal as the effect can also be programmed manually, but aftertol!ch is really useful to have pre-loaded. With It, you can achieve effects such as realistic crescendos without having to program control envelopes using MIDI expression.

Whether purpose-bulb ROM pier engines are beUer than sample libraries loaded into generalpurpose samplers like Kontakt, EXS14 and HAUon Is a subject very much up for debate .•On the plus side, ROMpiers are built specifically around the soundS they contain, and such bespoke tailoring can mak.e for extremely realistic results whe.nlt comes to programming Instrumental part~. On the other hand, every ROMpier you buy can dela.y the mUsic-making process, as you spend time gelling your head around Its particular Intricacies. It's worth pointing out that some ROM pier packages do enable you to use sample libraries with universal sample players, like the aforementioned Kontald, EX524, HAUon, etc. om

In smaller libraries, one .sample can be spread across several notes but changed in piton or Ilmesb"etched. Multlsampllng means that every Individual note from the instrument has been sampled across the keyboard •.



A layered Instrument has been sampled at different velocity I.evels, from soft 10 hard, prov.ldlng huge variation In brightness and tone, .In dedicated ROMpiers,

Some ROMplers and sample packa,ges are recorded through a range of' mic positions. This is normally a combination of close microphones, surround effect mlcs and other specialised options. Mixing these different mic channels together gives the Instrument a more realistic amblenc~ than just slapping a reverb plug-In on It.

This sample pljlyback technique alms to reduce the machine-gun effect that occurs when a sample Is played repeatedly in rapid succession. It does so bychoosi~ from a pool of three or four .separately performed/recorded .samples per note. These samples will all sound essentially the same, but the subtle differences between them make lor a much more believable sound when the

Look out for sample packages that donljust sample the notes,



I Iv1arch 2011

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We'll add a bit of variety later on.12 and 16. making each hit sound different to the last. Again. 7. and AudioRealism's ADM (www. We drag in Live'sCompressOf plug-in and set the AUack. > t:'OWEr:. which allows for very little in the way of sophisticated rhythmic programming. a liltle compression to bring out the snap and give It some body. but th is will bu iId up 0 ur percussive base niceIy for now. > 5 Let's bring in some more percussion in the shape of the 909 nrnshot. 2 Next up. The cymbals and hi-hats are sampled. enabl ing the user to dial in rudimentary changes.let's move on. folks! The other key part 01 the 909 is its rudimentary 16-step sequencer.Bigbeats: The TR-909 The TR-909 drum machine was released in with live's Compressor. s up the tom.late 80s. so we really need it to thump. snare. Flam and Accent introduce a bit of depth.sel.pll.. > 3 Next we're br. The use of synthesis means that the sounds can be modified to a certain extent. > 64 I COMPUTER MUSIC I lvIarch 2011 . Welcome to 1984. but that's your lot in terms of embellishment. while all other sounds . favourite among experimental musicians and producers. There's no limit Despite all these limitations. so pull up the piug-Ins 0 r thel r equIvaients and copy our setti I1g Compression . it's classic 909 style all the way. Let's start by building a solid beat. giving it some edge...4. Overdrive and FiIter Delay at the readv. to about IOms. two of which we're using here to create our old-skoal acid track. D16 Group's Drumazon (www.1IE:3 ~ 1 rour-to-the-tloor klck. low/m Id/high tom.il1gingIn another ADM. made Roland's drum machine a ubiquitous The TR-909 doesn't allow lor much sonic tweaking. tuning) we're about to do with our 808 loop . which brings the key sou nds from all of Roland's seminal beatboxes together in one plug-in. We bring these In on the same ADM as the tom tom.d16. Being sampled. Decay to about 150ms and Ratio to about 5:1.audioreallsm.3 and 4111our MIDI sequencer (Ableton Live). We then bring down the Threshold until we hear the kick start to fatten up. 4 We·vefudged the above screensnot so that you can see the settings on all three effects at once. I [IDJ1!!!l!!!l. a good technique for adding grit to a sound was simply 10 overdrive each signal through an analogue mixer cha nne I_ Th 15ad ded a certa In crud e but effective compression to the signal and crunched up whatever was bel n g sh ovell ed th rouq h It.These sounds require a bit of work to bed In. so it's no surprise that there are a number of superb software emu lations available. a faithful recreation of the origina 1909 with a stack of extra functionality squeezed in.oT'P >Grit and crunch Back In the day.are synthesised. To this day the TR·909 is stili considered a cornerstone of the house and techno scenes. but circumstances saw ils popularity take off Just as house and techno aITlved lQ4. Look inside it and you'll be astounded at the number of components mounted on its dual-layer circuit boards._ 1~1" C!EJLo .This 15 going to form the bedrock of the track.i used to tigh ten s. 2. It's also said that tiny voltage variances in the synth esiser c irc u rtrv rna ke for subtle differences to the output over time.1PI n_ (I) (I) -lO&<18 A_ !<tIM _ . a little Overdrive gives it a bit of an edge. and a price drop on the 909 due to the arrival of more Impressive sounding sample-based drum machines soon after. the arrival of house and techno in the mid-to.and pushing them through an overdrive effect can disguise and nicely distort even the most meek of sounds. this time just to drop some lnctdental toms at the end of the bar. the cymbals and hi-hats can only have their decay (and in the case of the cymbals. so we load Audiokealisrn's ADM and draw 909 kick > The first thing we need is a drum hits in on beats l. placed on istn-notes 1.10. Combining sounds on a channel 10 get them Interacting . and the Fllter Delay Int roduces a 3f16 echo.kick. rim shot and handclap .

We'd usually proqrarn 303 riffs on the unit Itself (the awkward sequencer often res utts In ha p PV a o: Idents) ra the r than the DAW's sequencer. but you'll be amazed at how ex p ressi ve VA u r svn Ih lines become When you can get hands-on with all of them at the same time. The TR-808 has since become a defining force in many genres. It's effective to throw In complete loops under the main hits in much the same way that producers would throw in sampled loops. and the user can choose between toms or congas. Pick and choose The same 16-step sequencer as on the TR-808 Is used for programming kick. > Pf)WI=~ TIP >All hands on deck We'll eventually have a trio of 3035 ru nn in g to geth er. not least The Beastie Boys. but also lets us play them all 011 the same lime! Alter finishing up the dru ms. largely due to the birth of more sophisticated sampling drum machines. Since we're jus! using drum rnachlnes tcr our track. Overdrive and Filter Delav pluq-ins. we pull up AudloReallsm's ABL2. Th.TR-80S's heavy analogue kick saw II embraced Inmanv genre.. but here we're showing the notes on a piano roll to keep things clear. kicks to give some low-end sub-bass action. while the darker red notes are Accents. we're going to move straight on to bass see overleaf for more on the TB-303 and the emulations we're using. shifting 12. II may take a couple of passes to get the hang of it. > 3 And 50 to the TB-303. claves or rlrnsnot. so set up your MIDI co ntrolle r to contra I ~11three simultaneously.just like we did for our TR-909 percussion. who featured It heavily on their ground-breaking (and charttopping) long-player Licensed To III. To complement that. drum. house. from Phil Collins to Ryu ichi Sakamoto and the Yellow Magic Orchestra. programmed beats and 'that' bass-heavy analogue kick drum that would see the TR-808 embraced by a whole generation of beat freaks. we're going to record some live twea ks to the low 303 part namely the Ac~nt parameter. It also racked up perhaps its most well-known mainstream success as a percussive backdrop to Marvin Gaye's Sexual Healing.kick. ) 4 Arrange the intro as we have here. Which harnesses the power 01 all of Roland's classic beatboxes. > Ivlarch 2011 I COMPUTER MUSIC I 65 .> from hlp-hop to electro 1 Now to put together a TR-808 drum loop with 016 Group's Nepheton_ We're pressi ng aIII hree conga sou nd s into servlce to make a little percussive rhythm.Lowerthan low: The TR-808 The TR-808 hit the market in 1980.000 units before being discontinued In 1983. As it progresses. cowbell and hi-hats. electro. we use808 . Again. Before it bit the dust the 808 found favour with established m u s ielans acres sa broa d ran ge of genres. we stack up Uve's Compressor. For our first emulation. such as hlp-hop. Program this riff Into your 303 emulator of choice to get that slippery acid vibe. We also bring in another 303 riff. > 5 At thefirst breakdown. The sixth and 13th notes in that part are Accents. then map your knobs and faders 10 whichever parameters you want to control. hit the MI[)I map button at the top right of the screen. The higher velocity notes (the deep red sixth and 131hones in this shot) will trigger Ihe 303'5 Accent tuncnon. which not only recreates the sounds of the 808. snare. we use AudioRealism's ADM. For our modern incarnations of this uniquely characterful drum machl ne we turn again to two of the best Roland-inspired plug-ins money can buv As in the previous walkthough. rim shot and laser sounds. we use D16's Nepheton. But it was hip-hap's demand for repetitive. this time using 016 Group's Phoscyon_ Long notes denote a Slide.. > 2 Now we add to the 808 loop withhighlighted from the bottom up . and maracas or handciap for additiona I percussive action. In Live. 50 you'll hear the 'twang' Increase as the track heads towa ro s the II rs t breakdown. even drum 'n' basssuch is the magnificent low-end power of that analogue kick. electronlca. throwing in an extra filter and sound mangling section for adding dirt to indIvidually selectable sounds. techno.

So.iI(I:kl1l' IOO1li 1 After the lirst breakdown (bar 33). Pump the output through a dlstortlon pedal or masstvelv overdrive the signal through a mixer channel and you're in classic ac id -sq u e Ich lerr ito ry. the hats. resonance and envelope GainLOW III. both ABL2. which can be switched between sawtooth and square wave shapes. modulation make it a tweaker's paradise. > 5 anat her D rumazan on its own channel --Just on beats 2. program Ihls pattern Into your 303 ernulatlon. lightweight and plastic in construction. Overdrive and Filter Delay combo to give a little movement ami control. and program In a simple oftbeat pattern.'''" -1"'"1'111 . map your MI DIcontroller so that you have at least Cutoff. but its impact on modern music simply can't be overstated The TB-303 makes Its sound usi ng just one asci Ilator. taking the synth to the next dimension with a II manner of new controls. > tf__~______- -~I POWEI'. only 10. While they can be retro-ntted for MIDI control. plus Env Attack and Step Length settings. Env Mod. but it really comes alive when the signal is distorted.'T''.To th at end. well as the 16-step sequencer. As weII as the low 303 and the lead 303. Resonance.000 were ever produced. > 2 For the 16th-note 303 rlfl.and Phoscvon come with distortion capabilities built in! The 303 is also at its best when it's being co nsta ntl y twea ked.and 4 --and augment the 808 percussion track with an 808 s nare.5dB at th e 240Hz mark.o I ~l. There are numerous 303 clones available today. the hands-on control of filter cutoff. adding distortion and a high-pass filter... DecilV and Accent set up ror twea king In real-tl me. The 303's almost impenetrable programming interface was largely responsible for its demise .o I I - +:-i-+-Ht ~:-. . Live's EQ Three does the trl ck --drag one In to th e effects raek and atten u ate . but While the TB-303 is capable of unique tones straight out of the box. Phoscyon goes further. Happily. II I -._ -~~ >Bring it to life The T6-303 is an amazingly ex pressIve synth. Programming the 303 is a Ihesound of house moderately painful procedure. That takes usup to bar 65. I . so let's stick in a basic EQ and roll off those lower frequencies. until it was rediscovered by a new generation of experimental producers who used it to redefine house music. 51ngle. > 3 That 16th-note 303 pattern is making things a little muddy at the bottom end. but flrst concentrate on tweaking that 16th-note 303 riff for movement and expression. slippery acid-style portarnento. This track already has delay applied to it to add to the rhvth rn lc b edroc k a I th e trac k.Bass in the place: The TB-303 Roland's T8-303 is probably the most recognisable of all of their classic boxes. Open a Drumazon. Discover new possibilities courtesy of the dedicated distortion section. That is.!. _~ I 4 Bar 33 and we're back into it.:. ABL2 falthlully recreates the 303 In all of its original glory.. adding to the pace.. the main detractspoints of th isfrom oing so selling somewhat diminutive rnonosvnth --namely simply jabbing at the keys randomly until the sequencer's 16 steps are full will usually produce usable results --especially when Slide and Accent are introduced to give it that distinctive. as Impact on dancemusic. > At bar 49 we add some 909 claps from 66 / COMPUTER MUSIC / March 2011 . and we're using two ot the best: AudioRealism's ABL2 and 016 Group's Pnoscvon. Tile longer notes demoteSlide and the dark red notes are Accents.. we bring In the hi-hats and swap thelead 303 riff for a different 16th-note 303 riff to keep th I n gs b u bbl i ng along. where we head Into anothe r short brea kd own. ~7J ~ (1 ~ a- -6_oooSB \ 000" o ODd!! (oj CD m CEJ []!] :-~-i - DIJ FIeQHI Gain ') \ ft<)" . II rst. we now also have a bubbling 16th-note pattern chugging along.2~1Hr OOOdS (1) ~ i. j - . Then add our usual Com presso r. ~~~~~5=~~~~~~:~iiij ~ Tweak to win The TB-lOl had a huge the Accent and Slide functions..handedlytedeflnlng. We add the occasional percussive build along the way (see the next step).

so take everything out and then slowly build it all up again so that we can really work that lead 303 right up to bar 157. > 5 Our delay Is on Return A. And we're done. sonlcaltv xOx-box $Jmp/IO' o. ·u.. Being able to adjust the Envelope Attack takes the 303 into radical new territory. Set up a Simple DeidY on a Return channel and set the Delay Taps to 3/16 and"S/16. along with medium Attack and fast Release.! rnmmm 100(1'" I ( e(i'" 0ry0'WM (\) 100.atio and just a hint of gdln reduction to level things out a touch.. and we're breaking down again! Take the congas out of the 808 percussion part and let It roll with more 303 twea ks until we get to ba r 89.o . Render out and report to the nearest retro dancettoorl > March 2011 I COMPUTER MUSIC I 67 .m'm[!J[ID [E] looo. Just th e subiles t twea k here and there can make a world of difference. and get tweaking! > OW TP >The 303 reborn Although we're using the 3035 as nature intended them.. mmmm Lmm[!][ID I_~J - 00!IIp. ~ ~ _I 6 To make some space in the mtx. > For the big breakdown we want to automate the lead 303. Althouqh we've kept the effects and slgndl processing simple so far. All of tn is excess ta kes the lea d 303 Into pretty ps vched ellc territory. let's lay out the rest of the arranqement dS d rough 'wireframe'lor now. we'Ve gone a bit mental automating the lead 303 Send level and de Iay Feedback.. Take everything out apart from the lead 303 part. en abl ingus to tu rn the old acid paradigm completely upside down. > 7 For the fini'll step. with Dry/ Wet at 100% Wet. While adjusting step lengths puts stuttery riffs in the Clip. we're roughly on a pa r with wh a t some of th ose ea rl y acid classics were made with back In the dayl > '='f)Wr:. Becau se the B08 pe rcussl 0 n 100p has hi-hats in it. D16 have ddded a whole raft of clever extras to Ph oscyon.e".. let's pan that right and the main hats ever so slightly to the left. And with all your 303s on one MIDI controller. The Drop. 'I~imll1'!l~' ~ "KOM. Thts is the big one. let's put a com pressor over th e Ma ster Outp ut for a gentle squeeze: low R. Assign knobs on your MIDI controller to govern the Feedback and Send levels. at wh ich point we face . Brilliant additions to a classic svntnl 4 As you can see from our controller data.l". which is exactly what the dancetloors of 1992 were all about. 1 Bar 65.. let's setup a big room reverb on Return B so that we can experiment with giving other parts some basic spatial positioning... go over the 303 lines again and again just to familiarise yourself with how they sound and the way that they interact. you'll really start to hear the Interplay pay of!...lets go back through the few elements that we have and apply a bit of panning. > 2 Before we animate the lead 303 in the big breakdown.qTIP >303 interplay Once you've got the drums and percussion working well.._ IlIr* I I!. CIEJI ". Put the 909 percussion ou t to the left as we II...

G gwith t egran I • Break a sound into tiny grains and endless possibilities arise. Welcome to the world of granular synthesis 68 / COMPUTER MUSIC / Iv1arch 2011 .

irst we'll refer to as granular processing. By manipulating. (Audio: PltchBend. whlle It certainly has musical applications. but when you get past the scientific stuff. duplicating and otherwise messing around with these grains. this is a d iffe rent sort of versa til ity: you can grab any audio sample on your hard drive and turn It into something completely different. Instead of relying on very simple sounds . Is great for more traditional production of musical parts. you can create entirely new and lantastic sounds. We then zoom in on the segment we want. but a Iso by the envelope settings of each grain.just by manipuiaUng simple tones.going with the grain / make music now < > Sound synthesis Is amazing: you can create a theoretically infinite range 01 sounds. This slightly obscure technique can seem quite daunting at first glance.v. but exploring it is well worth the effort if you want to up your synth game. and it's worth looking at what each technique is best used for. on the other hand. swirling soundscapes. We'll reveal the best ways 01 applying the technique to your own productions with varlous sounds In mind. Every sound at your disposal becomes fair game for radical transformation. This is because of the time It once took to render a piece of audio into its component grains. Grain theory Imagine that you've taken a sound let's say a recording 01 a human voice . "Granular processing is excellent for sound design. using the scissors tool in your DAW. but Modern marvel Although It has been around for quite some time. using various parameters to get a range 01 tones.lnagl'm. that would be granular synthesis at its most basic.) > lvIarch 2011 I COMPUTER MUSIC I 69 . this is where a granular pluq-ln is used as an Insert effect to radically transform a piece of sou nd. If you were to take all those tiny pieces of sound . Granular processing is an excellent tool for sound deSign. Here we slow things right down and use the Pitch offset and . which refers to the playing of sounds constructed from grains in a dedicated software instrument. its strength lies in creating non-rnuslcal sound elements. which will create an immediate sine or square waves . And il you 'eel like you've reached the limit 01 analogue-style subtractive synths and want to explore new territory. Throw randomisation and pitchbending into the mix. you can duplicate and compile them as a <grain cloud'. it's actually pretty easy to grasp. We're going to show you how to get the best out of granular synthesis. (Audio on thecm aVD: Zoomtn.wa. more traditional svnths can be rnanlpu lated in a similarly vast number of ways. making It extremely narrow. The second is granular synthesis. only recently has granular synthesis really started to come into its own. thanks to the monstrous processing power 01 modern computers. Granular synthesis. Things get really interesting when you start duplicating the grains. you can determine the exact nature of the sound and create huge. you'll have it done in a matter of seconds. Granular synthesis sounds like something that was invented by a mathematically inclined audio geek (in fact.with granular synthesis you can take absolutely alilY piece of audio and put it to work.a vocal.Random Pitch sliders to whip the pltch back and forth <3$ the grains play.Cllm) pluq-In to capture our piece of audio . Both techniques share the same basic principles.laylngwith the pitch of the grains Is key to creatlrng a great granular sound.a grain. The f. sweeping soundscapes. The cloud can be shaped not only by a controlled degree of overall randomisation. pitchshttt them and otherwise manipulate them to create completely different sounds from the original source material.grainsal1d rearrange them.This really injects some life into the sound. and you've served up one seriously powerlu I synthesis tool.l 3 Most granular svnths wHilet you control the densltv of you r graln cloud and the length of the grains. stretching. Of course. Broadly speaking. > Step by step The basics of granular processing 1 We use GRMTools' Freeze (www. It's also hugely useful for melodic parts. After rendering a sound down Into thousands of grains. you should investigate granular synthesis. The process could take days or weeks. We use the Random Dur and Nr of Loops sliders to tum our voice into a metallic buzzing noise. but they need to be treated d IfierI" nt Iy In you r tracks. twist them. we're going to deal with two types of synthesis. It's all about dlvld Ing a piece 01 sound in half continually untl I you're left with a very tiny portion of audio material . its strength lies in creating non musical elements' We've already mentioned the difference between granular processing and synthesis. credited to the Greek composer lannls Xenakis. Although the most common use of granular svnthesis is for the creation 01 huge.and split it into thousands of tiny bits of sound (around 10-15ms In length). who championed it in the 1970s). it's general. and involved copious editing of the tape that the sound was recorded this case. enabling you to fabricate really wild tones for the creation 01 melodic and rhythmic lines. The real beauty 01 granular synthesis lies in the way that it differs from more traditional techniques. By controlling the density and shape of this cloud. (Audio: Cloudwav.wavJ > 2 > P.

We're stavinq away from the randomisation options for now. a high Duratlon. Here. our bass loop now resembles the sou nd 01 a sel-f laser. Cycle from high 10 low densltv to see what sounds good.wav. After a low. the density pa ra meter is ca IIed Voi ces. (Audio: PitchGrain. (Alldio on the em DVD: SholtGralns. > v.kenaxis. for example. You may fin d Ih at you get c Iea rer so un ds at lower densities . often with a pulsing tone. First. Here's the loop going from short to long grain duration. 1 Let's look at how to control the exact sound of a granular processor to get the tones we want Here we're using Kenaxis (www. Which gives us a great glitchy First we kee p th e Duratio n of the g rai ns quite short. depending on the other values.It's worth spending a bit 01 time familiarising yourself with your chosen softwa reoG ra n LJ la r syn ths often come bundled with other svntheslsers and oscillators. 70 I COMPUTER MUSIC I Ivlarch 2011 . swirling textures. the subtleties can get lost if the cloud is too big. higher· end examples such as Kenaxls let you add multiple sets of grains and process them with various filters End sound-shaping parameters. In this case. and will make for some outstanding grains. So. real last. > 2 > We slow down our loop to an eighth of Its speed (the Stretch parameter). (Audio: GlitchGralns. In this case. Weirdly. short-tenqth.wav. It's nice and crunchy. Our advice is to keep you r 0 U tput Ieve Is fai low when working with granular synths . static or smooth. Want a high.a standalone granular workstation. we load a bass loop Into It. rumbling growl? Turn it all the way down.low-densttv grains too hard and they can get real loud. low Delay and high Pitch creates a shakerlike sound.PQWER"T"JP >Overdoing it Different svnths will give you different options for controlling vour sound.) > 4 POW~PT'P >Level things out l 6 Let's look at the delay. While at thicker densities It can get uncomfortably loud.wavJ > 5 Pitch is the variable that will give vou the most predictable results. of course. (Audio: LongGrains. which really accentuates the glltchy nature of the sound. 7 t. nv > In Kenaxis. before getting started on its most fundamental aspect: the duration of the grains. anun predictable meth ad.. Sometimes granlliar synthesis w III res uIt ina sou nd with a really low level.w3vJ 3 Stretching out the grain duration will always produce a much mellower. en abli ng yo u to create [udderlnq. and learning how they work together ca n be key to g etti nq the most out 01 your grains. it's better to turn things up afterwards than have to turn them down In a hurry while enduring an ear-shatterinq blast of noise. short delays etten work better with longer g rai n dura tlons. squealing siren? Turn the Pitch up. it's well wort h plavi ng aro un d with It to hea r the effect It has on a granularr sound. smoother sound. while basic processors llke GRM Freeze give you the bare-bones stuff. this process of randomlsing grains is completed uslnq the Range values. We keep both the Delav and Duration values extremely short. This doesn't seem to be a universal ru I 00.astl let's t hi nk about g ra in density. e ithe r: p ush th ose gilichy. While randomisation Is.if you've g 01 a lot of randomisation data.) > Grains can do tunny things to your levels.

del This last is a standalone unit that can get extremely complex If you want IUo. If you're a user of Native Instruments' Kontakt. cheek out Kenaxls(www. Choose a piece of audio and run it through your granular processor or svntn.Ins and experiment to see what works. Sweep through the frequency spectrum until you find a sound you like.c. It Into a massive grain cloud.) > >First things first II you're playing a granular svnth (as op posed to processl n gap ieee of audio Using an effect).com> has granular functionality built in. It's not for beginners. (Audio: BassGrain.. it's best to get your basic notes down before you start experimenting with Nllers Becausethey can often have wild and unpredictable effects.cameiaudio. Granular processors are far more common than synths. lv1arch 2011 / COMPUTER MUSIC / 71 3 01 course. but another essentlal part of granular synthesis is filtering. ('ve loaded a drum loop into Camel Audio's Alchemy svnth (www. thOUgh Granular options There's no shortage of granular plug-Ins available. you'll find a granular synthesis option burled deep within Its modules. so crack out your favourite pluq. If you're after even more complexity.wav. which makes . Playing with the Cutoff and Resonance controls can really help you 10 shape your sound. which Is a great standalone player. which is free and comes wl.lklsquld.) > When you wanllo ramptlTlngs powerful built-in finers and modulators. You might also want to try Udsquld's Grapheed synth <www. but It's well worth looking into. but it's there. ll ke the em Studio's Ohm Force Ohmvqodl (on the DVD). so you should be able to find one that fits your budget. as we have here. you could skip the fa rrna Iiti es an d go stra ight to the filter section on your granular pluq-in. look 10 Crusher·X -Ihls powerful granular synlh Isn'll"r Ihe 'alnl·hearlecl. pull up an EQ plug·in in your DAW. to create a huge. BigGralns.going with the grain / make music now < 1 You can have plenty of tun tweaking grain density and duration.c.inagrm. bassv monster. Overloading your 5peakers is a rea I p oss Ibillty. > 4 Here. Lay those notes down first to ensure that the basic structu re ot yo ur m usic is n't compromised by any filtering experiments you throw at it.short work of any plece of audio. granularised it and use Ih e filter cutoff 10 rna ke a hug e. Koen Tanghe's Smartelec:lrontx KT Granulator (koen. QBoost.wav) Thlslechnique really comes into Its own when you combine a.gerslc. but there are plenty of others available. Camel Audio Akhemy (www. More accessible is GranulOSa (www. One of the best is Atomic Cloud (atomlccloud. It takes a little work to get to. and It can be incredibly usefUl. As for Filters have a hugely positive effect on the textures of your but even the paid-for models are largely inexpensive.roughdlamondproductions. > 2 Insert a hard limiter 10 prevent overloading the signal.smartelectronlx.lcenaxls. (Audio on thecm DVD. granular synth IIne w ilh som e filter a utom atlon Try automating the filter Cutoff and Resonance. which Is about as simple a software instrument as youcanget. so wateh those faders. 5 You'll often get even better results using a separate Ii Iter piug· grm·tools·3) quite a bit here. Don't forget that granular synthesis is often present In larger plug-In collections. turning.camelaudlo. mutating loop. trying to p lay a con erent set of notes with filters acnvsted can give mislead In g res uIts. Then. > . then activate an EQ band with a narrow Q s etti ng and boost it rig ht up. for example.crusher-x. com). We've used GRM Freeze (>.om) is a slightly more weighty beast -ft enables you to control the delay as well as the standard granular synthesis controls. There are some good free ones floating around. as does Crusher·X {www.wav.

Althouq h a little ca n mix things up nicely. Just before th e bassi iOlekicks back in. pu nctuated by a h ea v y d ru m ll ne.PQWER"T"JP _. pa rtl cu Iarly for the low notes. but If you set the Attack value too low. _ - I!I!!I . there are endless ways in which it can be done. yo U may wa nt to steer clea r of u sl ng too much randomisation in your grain d ou d.ty Into a dance track. working the sound into a mix can be a little more tricky.wavJ > 7 A good way of integrating this kind of processing into your music is to combine the granlliated material with the original audio. This technique sounds really good If used In a breakdown. th 0 ugh. Play with the pa ra mete rs until yo uve got something with a little bite that will stand out nicely in a busy mix. So me sl dec na In com p ressi on ca n also work wonders here. but keep it in your effects rack for now. which you can import into your trac k. POW~PT'P >Enveloped Envelopes can be extremely helpful when meshing granular ton es with the rest of a track. playing. constantly unless bypassed.. We decide to lise It as a backqround rumble. .SynthUne. > 5 > This Is easy to do. just like any othe r Instrumen t. Now you have an audio copy of the granuldled sound. the sounds can blend into each other. You don'! want it to be too harsh or come In too quickly. Here. > 3 You may find that you need to boost the vol ume of you r svnth. requtar sound that you can easily use in a track. (Audio on the em DVD.wav) > 4 II you've been tweaking a granular processor rather than a svnth. you'll get a full.I!!. Low·freq LIen cy g ra n ul ar notes are often quite quiet and difficult to pick out in the mix. then 5010 both tracks and press Record. Bypass the processor. 6 T. If you want to further rna n lpu la te It.'. so you may need to use a Iittl e extra d istorn 0 n.he audio that's taken a trip through ou r gran ul a r pro cesso r is now a sweeping landscape of sound. > 2 The first and most obvious way of easily integrating granular noises Into d track Is to use a granular synth rather than an effects processor. If you're playing a lead IIne. 1 FI nding a place for qranular sounds in a piece 01 music can seem like a d au n IIng prospect Fortu natelv._'. say. gene ratln g a sweep ing sou nd sea pe is co u nte rp rod u ctive. but if you keep the randomisation low. That way. you'll proba bl y need to render your sound as an audio file. (Audio: processed. we're going to integrate some granulari.111. Granular processors don't Just k ic kin when the p Idyhead hi Is the audio in question. 0 r ra pid I y cuttl ng back and forth. you can play it via your MIDI keyboard. what you're probably aiming for when using a sortwa re tnstrume ntis a consistent soun d rather than 0 ne th at develo ps over time. > 72 / COMPUTER MUSIC I Ivlarch 2011 .••• >No randomisation If you're using a grdnular svntn ra ther tha n a processo r. Route an audio track to record the output of your granular track. Experiment with the Attack values In particular to shape your sound. 0 r a loudness rnaxlrnlser like the one in iZotope Ozone. Try either slowly mixing one In w ItM the other.

Indeed.Iets you take your granu lar experiments on Ihe road -II's not a synth. Use multiple granular processors as Insert effects. endlessly playing wilh the grain density or lengths to try to sharpen the -fhat can get very messy.Isto use It on a given sound more than once.but what about wavetables? A wavetable is made 01a.behind the technique.iser.going with the grain / make music now < Tips and Tricks DOUBLE THE POWER One of the best ways to get more from your granular processing . Graintable synths like Malstrom donl sound all thai different to more conventional svnths when you first start plilying with them. You'll end up geHlngsomethlng different and unexpected. it's very easy to get bogged down in the minutiae 01 individual controls. Turn on the synth's portamento seHing.o processed by a bltcrushing plug-In often sounds much the same as a piece of audio thars undergone basic granular synthesis. Spunk. gralntable. within a link or two you'll run into some serious calculations). It's a processor more than a synth. after all ~ but otherwise.y with it until it sounds how you wantit. and now there's even one for granular synthesis. IGRAINS Got anlPad? Fancy a bit of granular synthesis on the move? You're In luck: the number of audio apps available for the platform seems to increase by the day. Next. DOUBLE THE DUB By It's dark. Originally an IPhone app. enable you to manipulate your grains In two different ways at the same tfme.single sampled sound ~ usually something simple like a sine wave . found in Propeflerhead's Reason ~quite literally combine gra nular synthesiS with wi'lvetable synthesis to pro duce a very dlstl nctive sou nd. but even If your synth doesn't have this specific functionality. creating a great effect. particularly . The company are also developing a prototype synth called. a piece of audi. Various sounds can be produced using wavelables alone. you can get really great results from indulging In long changes over time. Although regarded as a somewhat esoteric branch of svnthesls. While bltcrushlng is good If you want to completely destroy or distort apiece of audio. enabling YOIIto fully control the position and therefore the sound of the waveform. this doesn't split the sou nd (so th ere are no grain s to manipulate). like Kenaxls. Hall the fUn 01 granular synthesis Is just seeing wha. and when you combine ilwilh granular synthesis. is where the similarities between the two techniques end. Essentially. Begin by playing a sustained low nole. cu rtis for IPad .synthesis can be very powerful and productive. as it were. However. the resulting techn ique Is called grainta bl e synthesis. We're skipping some of the brutal math. Immediately. which works particularly well Turn the tables Gralntablesynths ~of which the most popular and recognisable is Malstrom. there are plenty of ways to fake it. a high one. Unlike gran utar synlhesis. which Is available for £S. For even more SUrprising results. The sound that the synth generates comes from 'dipping Into' this sound ata certain point and varying the speed and position at which the sound is read. While quick changes are good II you're looking to glitch things up. The Strange Agency have developed Curtis for IPad. then stretch It out and pla. rather than simply piling on the effects and turning them all onsimultaneous.if you're remixing an existing tune from another genre. however. very quickly. It's much better to work with a dedicated granular synth If you're looking lor any real degree 01 control over the sound. ROLL IT UP You can create a great Intro effect using portamento. you'll have something that can get the Whole club shaking. but that's the general idea. load a loop Into a granularsynth. add a massive bassllne and some huge percusston. GOWILD When you're tweaking a granular synthes.which Is played on a constant loop. That.lhough you'll need 10 load your own samples Into It as source material AUTOMATION EFFECT . This technique is best approached In steps. The sound will slide up to the high note.. take some time to experiment with the settings and you'll discover the extent offine control that they give you over your sound. behind this (if you Google 'graintable synthesis'. stretch it out and mess with it using your granular processor or BITS AND PIECES Bltcrushlng and sample rate reduction can be sonically similar to granular synthesis. so never be afraid to experiment. go to town.99 in the App Store. In a nutshell. with granular synth sounds. Don't stretch It too much ~you need itto be vaguely recognisable.granular synthesis Is perfectly suited to dubstep production. Curtis is a great ~ if stmple . while It's stili playing. gralnlable synthesis works by taking the samples used in a wavetable and splitting them into thousands of grains. Grab a section of the original. but It's well worth checking out. automate one of the randomisation controls. er. and It might be even better than what you had before. slightly scary nature.ograins with the ability to control the playback of a sample. Sometimes the best way to get things going again is to save What you're working on and then completely mess up the controls. it combines the ability to spat sound Inl. using the best bits of both to create something new. Some synths.em March 2011 / COMPUTER MUSIC / 73 . By now you've hopefully got a handle on What granular synthesis is . geHlng the sound you want with the first one and building up the tone slowly with the ones following can come up with. The best way to use automation with your granular synth Is to play with the Pitch and Density controls. that enables you 10 granularise any piece of audio.

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ards reductlen. tricks In the pfQCeSS of creatIng the smallest sounds we possi'!:)ly CaR.sampling.cedl'. One of the ways t hat they achieve Ihe desired result is through judicious use of equalisation to attenuate frequencies that ·ge'\in the way of other litt. We're siding with tile little guy ~ hear him roar! 1\llarch 2011 / COMPUTER Hear the rI. everr~ hin.JI_t:i.le room for other 'instrumentatlcnand hence make for poor fare in a balanced arranqement. and In no' '00.rourrdly criticised for sourt_dlng too simple. Quili€ the contrary.. somewhat paradoxically.achieVing massive sounds w'IUleQ:Jalfyll1iJS5lve forces of Impact.seQf tr!~ resultant C<KCPhc.1he leaslt oflhlngs can make the. and we'll wnlttle dov. '*'~th oaf'.. Irs easy to overlook tbeslmple. we're going toteach YOU some of these very valuable sound E~ngineerillg. The waveforms i:iJeyproduce-are in 110 way' as complex as those otan acousttc instrument.rn some big sounds. We'll create tiny so u Intis from scratch. This 15 no less true in the modern studto.. out of the din. We'l! USE~ s-ynthesis.By the! r nata re fIleyare indeedqluite simple. In fact.of 13l. These slmpte wav~~fonns are pareddown-8ven mere by the instrUment's fUter section: cool«. sound bigger.aft 15 this more'l!be cue than muslcproduc:tion.'W at mix time. It"sironlc that tnerecent trend back with. Over the next few pages.umpres:.oarlCjlo·gUe svnthesiseas wJ'!re.. Adverts h~h!!2Mwg~!!ke '~h..n their I Initial heyOay. By their nature. While musicians struggle to drown one another out in searing walls of sound. tltey might apply We'll build a simple arranqement from start to f\~~s'h. the sublime and 'I\e. Yet sometimes. fhey lea. iJd~~rte~ '~in submerge ourselves in sulbtlety and simpliCity. make ttle track.ion to reduce the dynamic range of a.anapproadh that can. and it's often hard to get heard unless you plav it of tllemostPOPUliU hardware synU1eslsersof the past 20 years has made Its name largely on lIS ability 10 stac:k up aU !ts¥Oices In one big unison blasl The best classlc synth players knew the limitations of their Instruments and worked with them.a'1~ trcai..r work weHln the club or blaring from a sta£le crowded with electric guitars.lIje excess m . Big sounds are big because they are loud and frequency. eve al.given Instrument .ri. O.!Sl. it '<fees not.g. a substantiatsenlc diet make .te and dainty.ll..1r dlmll'lutl¥e e:<pe:r1menu in. enabling tl"mm to build up massive arrangements· from baslc timbres. fhe engineers on the other side of the glass ~Itdown and maKe~r.bIggest!ti low.all the small things / make music now < It's aloud world out there.essage .! 'huge'.:~~f.the desire to r fat sounds ..sma~ The music technology ~Industry thrives on hyperbole.!!'<!II¥. W~1hso much emphasis placed on . the tiniest voice may carry the greatestm. '> Attlmes. EQ aridQlhe r clever methods to finely honethl~ While such hign. Uke_wise. deify the delica. tilE! Tutorial AII!s folder MUSIC J 75 .

> 3 Sel both the Decay and Release of your Amp envelope to around SOOms. then play your soun d. Playa few hits.wav sample from thecm DVD. > 76 ! COMPUTER MUSIC! lvIarch2011 . This trend was put to rest by the resurgence of the analogue drum machine. lay down a simple kick/snare pattern that combines the synthesised sound of the CM·50S with the sampled snare drum. The Decay hereIs pretty short. 50 too did the number of tracks dedicated to the drum kit. Up here are a couple of knobs that control the pitch envelope. and they rarely get In the way. then playa few notes at E2. Select It for editing and look to the OSC section. Now. It's big. Set the Root pitch toE2. and a tiny kick drum can be just the ticket. open the editor and drag in the Snare. from the em Studio on the DVD. Close the key editor and return to the sampler's main interface. reduce the tllter's CUloff frequency to around 60% or so. That's positively Lilliputian! > 4 We can make our snare sound even smaller by playing it a few steps up.anyone will do. The delicate pitter-patter of the analogue drum machine can propel a track and set up an instantly atmospheric mood. seen mainly as a guiding force for the rest of the band.using a couple of mics to track the entire kit.Turn the Sustain down all the way. The default settings are fine. Is it? We'll fix that! Activate the filter and set it to 12dB high· pass mode. but let's turn it down even more. > Delicate drummers The evolution of drum recordings over the past few decades can almost be seen as analogous to that of recording technology Itself. Rename your drum (we've gone for Cautious Kick) and save your kit. When track counts Increased. Reduce the snare's amp Decay a Iittle if you feel it need s It. Set it to nearly D. also use sampled sounds. > 2 Rename the instrument (Subfime$nare works for us) and save It. Let's craft one using the eM·SOS drum machine. Fire up a sampler . during the decay phase of the sound. That's a lot more natural. so play the C above E2. As clever effects were introduced. flabby and a little crunchy . they were often applied to the snare drum (witness the Eventide on Bowie's lowand the eve rpopular gated 'verb on Peter Gabriel~s third album). Crank the Shape knob all the way down.> make music now I all the small things Cautious kicks 1 Producers have long been aware of the appeal of minimalist drum sounds. Fire it up in your host. cavernous and bombasticalmost ridiculous. Your sampler may have defaulted the envelope.. Startlnq with an empty patch. but you can. We're usln g Logic's ESX24. We can fix that in the Amp envelope. of course. Sublime snares 1 Analogue drum machines are a good source of petite percussion. In the early days of rock 'n' roll. out It Isn't exactly small. as long as it h as a high 'pass fi Iter. Most drums change in pitch. then playa few hits. In the 805. These are just the kinds of sounds that we're trying to create here. using our Cautious Kick drum. the drums were often burled far down In the mix. > 2 Click theKlck1 pad. more sublle and expressive sounds of decades PilSt These basic sounds are easy to record and mix. too.there's a lot going on! We can bring it down to size with a few simple tweaks. Recordings were simple and monophonic. so the sound might be truncated. Playa few notes. The .Attack should be set to 0 . Open an Instance of the CM·505 and. drums were big. Now it sou nd s Iike a cl <Issie Ro la nd CR'78 or Korg Mlnl·pops kick > 3 Look above the OSC section. bringing the drums fUll circle to the simplet.

> 5 Let's have a little fun with the filter. using ajudlclous microphone selection and placement. However. As you can hear. any engineer worth his widgets will tell you that It's always best to capture the sound the way you Intend right from the start. In other words. As before. we normalise.such devices generally use the smallest. cheapest microphones.c with a cardioid pattern selected will produce the proximity effect If placed too close to the source. In this case. trim and export It as Plucked. We like the latter. Tum the Sustain all the way down.alf. Nudge the LFO . almost like a ukulele. and set the Decay and Release to around 60ms. though you can change the octave to better reflect the pitch of the sample. To take this Idea to the extreme. try playing (and recording) a series of elqhth-note chords.Rate to 0. > 2 Once we've tracked our plucky note. open Its editor and drag In our sample. > Many mobile phones contain microphones that are great lor capturing small sounds Reduced Recording Although we have plenty of software that can treat our recordings after the fact. we need to look to the sampler's amplitude envelope. . We'Ve heard some great vocal recordings made this way. banjo . These are often used as overhead microphones for drum recordings. This is 8 band-pass filter.32OHz. or on acoustic stringed instruments. It's still a tiny tone. >' 6 We now need to look to thelFO itself to get things going. They tend to bring out the high-end detail without accenting the low frequencies. so our sound starts off pretty small. let's use the 12dB BP mode. You might even try recording the speaker from a distance. This is known as the proximity effect. Furthermo. You can choose to svnc the lFO to the host's tempo. select the Illter Cuton as the Destlnation In an unused slot. we're going to plump for something a little more accessible: a plain old acoustic six-string. We call up another instance of EXSZ4. but it's a lot more fun to listen to! > rvlarch 2011 / COMPUTER MUSI. The re are pi entv of pi psq uea k plucked instruments that we could use. For example. or use 'It In free mode. resulting In stili more loss of detail.EVenwhen used at a distance.. It stili sustains for some time when the note ls held. If yo u don 1wa nt to record your own. Set Ihe Cutoff to around 46% and playa chord or two. a largediaphragm condenser mlc with a cardioid pattem will almost always emphasise the low end if placed too close to the source. > 4 Playa note or a chord above middle CThe sound will be a lot shorter. mobile phone or dlctaphone . you can use ours or any prefab guitar sample. you can also experiment with sending your recordings down a phone line and re-recordlng them through a speakerphone or the tiny speaker built Into your mobile. However. The root note Is already set to C. so it will only allow the freq uen des imm ed ta tely su r rou nd Ing the cutoff to pass through. Still not tiny enough? Go to the II Iter section an d turn th e II Iter mandolin. We set up a rnic and record a single high C note. choose lFO 2 as the Source. and nudge the depth up to around 58%. they record at reduced bit·depths and sample rates. Now. We think that It might be more Interesting il we sweep the tllter using a mod source. ENV 2. ukulele. Many have a slight mid'range boost to add a bit of presence. such mlcs are designed to reproduce the fullest complement of frequencies. 3 We tracked ahlgh C on the high E string. Just turning it on has a devastatinq effect on the sound. We go to Ihe Mod section I~ the centre of the sampler.all the small things / make music now < Puny plucking 1 Let's take a break from the drums lor a moment and thi~k about addlnq some g uIta r. Tills time. However. they do exactly the opposite of what we're trying to achieve! You might get better results from a smail-diaphragm condenser microphone. our lFO Is swee pi ng th ro VJ g h a narrow ban o of frequencies. any ml. with a fairly narrow rrequencv range. You can get some very small sounds using the built-In microphone on an IPad.C / 77 .

Let's add some interest by m ovi ng the Ii Iter's RES sli de r up to around the 30% mark. Select Env for the VCA mode. Turn It down to around the 9 o'clock position. So. We can shorten it a bit by turning the envelope's Decay down to between 25% and 30%. the 303 was a slngleaffair.> make music now I all the small things TinyTBs Ever since Moog oscillators Mlnlmoog constantly bottom tendency Bassllne (another oscillator stacked in its have up that with to fatten this at odds T6-303 5H-l01 three that. Fire it up in your host. or of knobs. yet lacks exclteme nt. the d efa uIt pa tc h. didn't study through breathe could you? Yep. anaemic. brothers most oscillator generator. wh Ieh Is appropriately named Start Here. that's pretty good as it is: it's got a narrow frequency range.. where we can reduce the Range to 16. Otherwise. away club the to say complement Ditto for its bigger SH and Juno series. of Roland's Like Roland's be strapped and all of its dance-floor favourite for squelchy than that. > 2 Clearly. meaning that the Instrument will play for as long as you hold E note. Come to think of It. svnth. it could If you're minimal it. screeching acid any Its it's primarily with fit into just about not afraid to tweak in the of which and Thecm Studio's cM-a03emulates Togu Audio to use l11eRolandTB-a03 -It's lreeon the OV. Although associated style jams. and squeaked behind sound? was somewhat. minimal for our next step-by-step. this Is. the 303 was a The sound than of room else cut together sought in rnlnlrnallsrn. Turn the ENV slider in the VCF section way down The slider's centre line should be even with the lourth hash mark lrom the bottom. Yo u can fi nd It to the left of tile keyboard. we decide that the porta menlo is WEYtoo extreme for au r exercise In restra Int.0 K. and the modulation amount Is cranked up. > 78 I COMPUTER MUSIC I March 2011 . That's a bit better. More set of parameters well.) all the way down. ReBirth- the popularity descendants. That's a more approp rl ate settl ng and th e bass is now sounding very Roland-esuue to 0 urears . We ca n sta rt with. we're going to give it the Dr Cyclops treatme nt and shri nk it d own to a traction of lts usual size. drew upon a single but one envelope instruments sounds And yet it wheezed and buzzed bombastic a billion Simplicity. is decidedly the mix. We can get off to a good start by turning the Sub Oscillator down in the Source Mixer. Tum the cutoff frequency (FREQ. rather and gave plenty overwhelming for chords. Finally.Ine to supply the bottom end for our track. hits. > veo -- - - 4 That didn't have any effect.cru nchi ng basses. really! That's beca use Ihe fitter's cutoff tree u encv is tied to the enve lope generator. activate the built-m arpeggiator and lay dow n so me brief 16th· note pa ssaq es. and that calls lor some slimming. we can turn the Saw wave down and crank up the Pulse wave instead. assuming the filterhasn't squashed all of the audio down (which It has).way too brash for our laid back tra ck . I urn to th e sectlo n. its bass lines). It let the beat leads and whatever to Its back.iI wou Id bu ry a'il of our 'insignificant' instruments! We want to create a bass track that pulses and percolates. musicians end. > 5 Alter a bit 01 playing. > 6 You'll notice that the envelope generator only Effects Ihe filter. What's You knew the secret behind So ideal are these classic for making that we've elected we were going you cou ld also do Just as well with Bite-sized basses 1 We're calling on Togu Audio Line's Tal-Basst. as we have done here. and Is simple without being dull. > 3 Playa note or two. Although this little guy can generate scm e bone. Line's SH-101 emulation However. let's move ave r to the lilter (VCF) our very own eM-303 Propellerhead's www_rebirthmuseum. However. but It stili sou nd s too bl g. The VCA is set to Gate mode.

The goal here 15to reduce the overall volume level while malntalnlnq some sort of dynamic variation.all the small things / make music now < Pipsqueak percussion 1 Some sounds are naturallv small. or use ours. without affecting dynamics. How can we make this voice sound smaller? The most obvious method Is equalisation. You can call upon a rnultlband compressor if you need to tame a ra ng e of f req uencles. bu t th at hard Iy matters.Logic's Spave Designer. given wh at we're about to do! We Normalise the track. Nor mal isi ng just brl ngs th e overall Ieve I up. We don't need to do much to It at this potnt. While this increases th e ove ralls pectru m. We m ustn't overloo k Ih e val ue 01 effects pi ug·1ns wh en It com es to minimising sounds. Compress ors an d IImiters are ind tscrl mi na te. 0 ur 51ng er was sutterl ng fro m a cold. If not. and 5CO op 0 ut eve rvth ing above and below that. but au 01 these tasks have been applied to lndlvldual samples rather than to an entire rec ordi ng.RTIP >Dynamics Processors It's al most habitual: you record an acoustic track such as a guitar or voice. set to a small Wet Room preset. > 2 You can record your own voice. this Tibetan hand drum being a good example. The EXS24 automatically routes incoming M I01 velocity messages to amplitude. We reduce the wet signal to make it even smaller. Pldylng gently results In d deltcate sound! > 2 FX Next we load the recording into our sampler. then reach for the compressor to reduce It5 ovnamlcs. > 3 Our instrument is already small and has bee n pia yed dellca tel y. This track shows just what you can achieve by thinking small! an > March 2011 / COMPUTER MUSIC / 79 . squ as hing ever y frequency with equal disregard.. but If you want to make things sound srnalt. Call up and EQ plug· in. we've recorded a vocal to Track 6 of our project. 1 We've done a lot of filtering and fulzing around with sample length. as shown. set it up to do so.. 50 b rl ng the t ra ck fa d er d own afterwa rds. It's pretty easy to recreate. We"Ve Chosen the latter route. However. > 4 It just so happens that Logic's Channel EQ h as a preset th at fits ou r needs to a tee. making it sound louder and bigger than the unprocessed recording. If your sampler doesn't. Give a healthy boost to the area between 1kHz and 2kHz. bringing the loud bits down and the soft bits up. and your EQ may have something similar. Here. it gi ves the Illusion of placing our singer In a small room. we're going to plav It even more gently recording the gentlest of performances. Any hits that jump out can be tamed in your sequencer's piano roll. > 5 We suggest a small space using reverb . We were careful to close-mtc it using a decent preamp so we could play it very softly. If YOU have such an Instrument lying around. so we leave the filtering off and the default envelopes in place. Red uci ng th e dy na m lcs means that we will need to bring the overall track volume up. > Infinitesimal POW . you can track it live or sample it lor playback in your sampler. > 3 We loop the playback around the vo ca Is to make cu r wo rk a little ea ster. II's ca lied Phone Notch Filter. it's b est to avo id them altog ether. but tba ton Iy makes It louder. and trim off the noise at the start.

using the Square Wave Instrument In Instrument Slot 00. note offset the two types. 4 In the fourth column.!t.' {JU'".1 ow" I~ I!~'I nu III I.So the higher the y value.. IInl In o. . O!.~ ~ (J·I.. r ~1"1~"" U 1:1"-111 01)'. .~-. Pic k sorn e 01 the rnatn six modules and click In some colours on the sequencer. the longer Renolse walts until the slice kicks in.::'I~~. I" i:U .. it generates it's In digits Volume) Arpeggio and the x (or xx) y represent To illustrate command in semitones is OOxy.2. lnl'll U. (File: CM_lrackers_tlltorlal_lSd. '.w .IU'..: .lj n··I.':=I. (Files. Ifl n-n uu R.'I OU~lj. .' J U~""~I (J'I'.'~ uU'.~o:. Commands tool. 0 W..BLJ UU'. XRNX Ii Ie onto install. trackel'$_tutotial_lSc.~~.: ~'. Ol.24.:W OO~A~ ull·.tlU Om. .OO OO!~'I flLJ.l5startand."'!l i!i " " ~~ R~ c ~~ coo " . invoke th e Processor..I OUt 11 II"l-lil"jll'.~ :~ ~ jIWI.~~.hlJ uu~. eLl . (lUl.!"~.1'J.~.' LJ'IIU uu'l.'J I·' III l. ~ ~ " "' tn. UUt!1 .:"1 ____ ..1 r-soo (JUL. f (J~~'!. OOh.I(n UoJ·~t.' II.~I.~·1 IIU'. > 2 Now for some arpeggios.0 iIO'.4J~4:'.'.l > .I (j~ 1. {~ : I 2l.p. J t)~111I ·111 110'. the syntax defined the gl ide speed.11. (1-::' ~II}.)".0 4ul'.'l I MIn um~jl (]U~..~~.(I or I) CI .'t J [I.. We opened uttering to basics'.I . .CM_trackers_tlltorlal_ 35e. 08(..'1 uu'. 1 £1"'":-.·" IU". involved..1111 ~::~:~! r.IIIJ 1. """'1 r. musicians To get the most important Renoise. basic 'Getting of Its cross-platform parameters. use 08xx to set the Pan level trorn left to right (00 to FF)to coincide with the rhythm.rn 00(.3! Track DSPto the Master track (preset Cheap) for an a-btt effect. Commands.:'. 1 OU'il O~.~~.? 4UI'.'1 rl11.ier > .0500 and 0500 sequentially on the second and fourth notes to glide to th es e tones.rl.~ :~~:: ~t~ ~ ~::}~.'}fl Uj)'.1 ru. applied at tick number y.. !)'1.UII U~. With the cursor block In Track 02 and the Drumloop in Instrument Slot 01 sel ected.~· 1UI I' •• OWl " O·j. as explained above. ( HUI.!~~ ~.un 1 Load the file CM trackers tutorlal.i. We've used 08CO and 0840. input a melody consisting of 10ur notes ever y ei'ght lin es on Track 01 In the Ilrst Effects column.'i." .Ho(] :~:::j :~:n~::i:: . . . provides really us a chance one 01 the new LUA prug-·ins. hUll nO'11 HU'II n·I'~·. I 111.' tJll. I o~~:!U UUb'1 (]~tOU {]U~.. uU'. j). looks a canof four worms little last issue demand. enter 0530. or nnxx These are In one _ where the lirst type (eg. (J'I'~~' u'. 0500. 01 two formats an open Renoise files are on two digits (rm) represent the effect vourem >Step by step Using effects commands in Renoise no III !!! .~. which Glide to Note is OSxx. • ~: t .I: (1'1. back tutorial So by popular at the most column commands. fJ tH 0 IHl'1rU"l.10'1. (I'llt) fHRU -v. input some arpeggio values In the format OOxy. add a Distortion 2 (preset Drums Soft) and Del~y(preset Groovy G) from the Track DSPs tab at the bottom lett..~ '1 ·141 .:~. ~~~~ oac 0 t'. voutl achieve great dynamics and expression.111"... where above the the x is the first xx is those words. In the second column. Click the + butte n th ree times at the to prig htot Track 01 to reveal three more Effects columns.:-:'IW"'1U uW-ItfJ"'llllfI11lo.. then select Process to generate the commands.HII nu'.:~. '.~ 0:1 (PI ilH. IHI"il III II •• ! 1:1 I" II. 1:1 D OJ.' UU~..IIU u""Il tHl'. n"I. not least capabilities. but understanding them will bust open new sonic doors Allll1e project flies reterencec are In the 1lIkif't!I! Files rQ'Il. some rhythmic Volull'le SlIeet data In the format 04xy.. P.l 6 Experiment with adjusting the parameters of the modules. which you'll find under the ToolS menu.'!~ u:Elt 0 .. . '" .:1 U'.~ nw..i::~ 11'.~" Q1~.J~".add a LoliM.:_' ~:I::l . u'. (Fiie on theell'l DVD: CM_ITackel'$_tutorlaI_35a. With experimentation.'1 n'll II U'I. UU~. UA..~·.JO·~."7 O'j 10 O:e'~O j)jI""o"l~~(I1. but to test-drive Processor. effects within user-defined the root note and Pattern Effect functions: effects y is the second. Ll'I. :. Now for some Drum Processor fun.Hl II i. of tracker by this We're using because also because Renolse it gives in this tutorta I.~~.'-I1I'jlu !~ 1'1 l ~I u) II.) em > 80 / COMPUTER MUSIC / March 2011 . II.' ("J·4. In II • '" n~ 00 I " ~nn um. playi ng samples this feature with the power MIDI by four at tools.' ('I"'IIU [~' t. O""ol"!S O. provides do things sequencers the flexibility distinctive slicing and to parameters.3l1y. J!J HU'II u UII'.~·. ~'.~··1 llll'. where The EHeets and functlona sounds. each time choosing Proe1!SS betore listening to the result.. ·!)un e III liB uti == . u.) > 3 In the third Effeds column. You may find it useful to play chord progressions on a keyboard first and note the offsets In sernltones..I~.renoise. You'll need to download can be found tools/drum-processor.j.:··1 ()'IIIU (I'-t.··J (l".'1 jJ·l. Drum Based on the free VST effect Glitch.'.1'. Once you're happy with this.'I O~. Then manually adjust the effects commands to further suit your needs. OBl 0 . == '" 10 I~ u-u u OO·~'" (I·l. ~ 0"1.un UII'. f1HI n . 'Hi'II) Hfl'.'ll"iLUIIU'iU illi'.jl OMJUUm.l > uacu 5 >.com/ window resldl ng In the Effects Column.: 11:1 nm.totally tracKers Done for effect Effects commands may seem impenetrable..'"1 ~'i I'~.. ~ lj'I.. U. input .1 omll tlU~.j!.fl"'4U .. 1I'IIu tlll~·1 .. III. out of Effects From arpeggios tracker don't to sample to understand each cornrnandis _ nnxy the Drum Then simply Processor drag the to DVD. CM_ tl"ackets_tlltoria I_lSl.:'1 II'. Set that users of many traditional get as standard. where xis the volume factor (0 to F representing 0 to 100%).·I L\I h~I'ijj tJU~'ll (I·i~~.'!)4J1. I ')'l.jjl ~J'. All the tutorial Illy to create backwards.. (Fl Ie: eM.II (PI I II 11~. Click Help»List for the full list. h jj"'U.)"1 LU IJ'lij tI W. Fln." ()'l.O[ol'lO UO""11"-11U~IH"'In 11'1). Which gives a 25% pan each way. (File: CM_trackers_tllf:orlal_35b..IIfJ U'.. " {I0(O IIII' .

as it suggests that you can only use this scale in rising passages. . il is very common to write cautionary (or complementary) accidentals in the first bar following chromatic changes. Notice how the sixth and seventh are raised over the DmG chord. or E G B~ D) and the so-called descending melodic minor (also known as natural minor or Aeolian mode) fits the bill (the third scale in Fig 2).. and the main target for chromatic alterations is the dominant (V) chord . a bar Une cancels them ~ so the notes are automatically returned to their key signature forms in following bars. Things get a bit bluesy this month. The word 'ascending' is misleading.ower Om' versions oflhese notes are placed over the other two chords. So in 0 major. This chromatic effect is fleeting and should be reserved for the dominant chord only. and the notes of the ninth chord are A C~E G B~). Staff notation special In staff notation. To create that authentic George·Gershwin" plays·Summert/me·aHhe·piano sound over a minor sixth chord CDFA B In our example key).ture that's used for Ihe major key a third higher. However. and you'll be glad to hear that they do not change simply because of melodic direction. so any alterations are made with sharps or naturals. these acddentals do nol need to be repeated for notes in the same octave. liIsing Ihe correct key signature puts the sixth and seventh degrees automatically in their lower position (B~and C in our D minor example).and Descending Melodic Mlnorwlth both sixth and seventh lowered this last scale over the chord V as well. Fig 2.on that within the same bar or measure. So. along with a brief passage showing how they might work together with a couple of ii V i progressions as illustrated in the Sta~fnotation special. the so-called Relative Major. the first five notes of a minor scale are fixed and do not move .51Xlh5(pink) and alternative sevenths (white). re.1e$ folder . Jazz composers and players. many pages and Is probably a bit beyond the remit of an Easy GUide! em J J) I if)· Om' Jd 1 jl j JJ 01 r~Q £J Em7&S' J Aslmple melody over a repeating II V I pattern In D minor I\~arch2011 I COMPUTER MUSIC I 81 . So. you can merely add seventh and ninths to a II of the chords (preferably with rootless voicings) and have your melody stick to the major it would seem that the harmonic minor scale (Fig 2 second scale) would work well. use the raised six and seven over chord i. The typical chord ii for minor key progressions sports a lowered fifth (in this key Em'. this scale works just as well if your melody heads in a downward direction. that means substituting the A~chord and then melodically using the lowered sixth and seventh (B~and C) and also the lowered third (F not F~. Harmonic Minor wllh IOWNed sl!d:h and raised sevenlh. creating a satisfyingly b~uesy clash between the C in the scale and the 0.. but a useful simplification will follow shortly.. with us sti II thinking in D major. In the N chord. Em"o5j A'W>J Major varieties Fortunately. If you want to keep things as simple as possible. simply accompanied by a diatonic melody in D major. A minor uses C Major and so on.A full exploration of chromatic Jazz changes would take. though D harmonic minor puis In a brief appearance In the last bar. The different forms of the scale go with different chords. a convenient expedient is to borrow the chord V from the minor version. however.--• •--• . the sixth and seventh notes will both need to appear in their higher slots.You will by now have guessed that the sixth and seventh steps of the scale are slippery and will be required to move up and down at different times (see Fig 1 for a D minor example).. D minor uses anF major key signature. Ascending Melodic Mlnorwlth raised . jazzy ll V I progressions in major keys can be much more straightforward .sixth and seventh. All of these scale/chord combinations are demonstrated in the accompanying MIDI file on theCm. In other words.p d!" ca "p . alternative . the dom inant chord (V) In minor keys frequently takes a minor ninth as well as a seventh (In D minor the dominant chord is A.At the simplest end of the scale (pardon the puni). In fact. So It does. creating a so-called ascending melodic minor In traditional terms (see the first scale in Fig 2). the progression would be Em" A' D'.e the key signa.- . as shown. many composers and improvisers opt for using Fig I: A typical minor scale with five fixed· notes (red).As you have justl'earned how to navigate the choppy waters of minor dominants. In practice. however. minor keys tak.looklng at Jazzy minor key progressions and in particular demonstrating how chromatic changes can affect the scales you should use to create melodies over them. DVD.. We'll let rip with the good news first: in the normal course of events. and the lowered six and seven over the other chords. let's consider what a minor sea le actually is. never tire of making simple progressions more complex..B minor uses a D major key signature. Furthermore.' As we saw in last month's examination of the minor ll V i progression.----- _- What's in a name? So..easy guide / make music now < Minor jazz chords > We're now going to continue the process that we set up last Issue. We'll then briefly check out the weather over In major key county. as we tackle the thorny issue of minor jazz progressions and what scales they require A MIDI tile to accompany Ttdortral t~tuklrlali!iilnlhi!! F.verting back to the regular major scale notes for chords Il and I. while mostly I. It may be helpful here to recall the conventi.

yes. avant electronlca and. fearful. What interests me about science is not the science. one Is sent to the left channel. or anxious. Katlhelnz Stockhausen and North Indian ciasslcal drumming to 60s pop. I-dosing is a phenomenon where binaural beats are purported to act like psychotropic drugs. There are four main types of brainwaves. Adderall. but also white noise. and delta. Each one promises a very defined experience. AudIO examples from the walll. his musical influences range from Frank Zappa. In monaural beats. Others feel nothing. al pha.s.lie down In a yoga corpse pose. We emit theta waves (4'7Hz) when sleepy. We'll explore the latter here: how brainwaves can be controlled by sound. Entrain or entertain? So. entraining your brain into altered states of all Ilks: spiritual. Getting your hit is easy: download an i-dosing MP3 from your preferred friendly internet i-dealer. take a few deep breaths. Isochronic beats are periodic sonic events from a single source. but stili aware of what's going on around us. and let 'er rip. or in a heightened state of creativity. Some users claim to have profound i-dosing experiences that feet like the result of taking various drugs or sinking into deep meditation. tense. Most people fall somewhere in between: they're clearly experiencing something. silence. For example. My primary goal is to make music. In order of decreasing frequency. 82. instrumental/vocal the dial rachMiel's Controlling the mind with music rachMiel rachMiel has spentthe better part of a decade studying composition In America and Germany. Some of It Is chaotic: quasirandom neuron firings. and more. In my example piece. of course. I guess that depends on your EQ (Entrainment Quotient).not literally. We emit delta waves (1-4 Hz) in dreamless sleep. horror movie scundtracks. Isochronic beats sometimes use sine waves. deep meditation or unconsciousness. can music really provide instant ecstasy? Well. Can entral nment music still entrain brainwaves? Or will the musical conversion process weaken/destroy its entrainment mojo? Again. Will it be good. But can you make music from it? Of course you can! You can make music from any sounds. wanna get high? Just grab yer iPod! Or so the advocates of l-doslnq would have you believe. drum beats. because sines are the simplest waves. generating a 'dltterence' tone. So. Out of Body. theta. meditative. sexual. I-dosing: Binaural. per se. your brain Is swirling with electricity. it all depends on how it's done. We emit alpha waves (8·13Hz) when relaxed. even vldeo-game-enhancing. the degree to which your little grey cells allow themselves to be synced to an external audio stimulus. retaining key entratnment-auolo characteristlcs. stimulating. but the effects afe nowhere near as specific as I-dose track titles advertise. such as Acid. above all. / COMPUTER MUSIC I March 2011 .lhrough inE! il'lll'lE:!: ~Fllesrolder Our mad musical scientist rachMiel goes all George Orwell and experiments with producing music that influences your state of mind > From the moment you're born to the momenlyou die. but the inspiration it provides. This occurs because the human brain tends to change its dominant frequency to match strong external stimuli. beating a drum at 4Hz would entrain brainwaves to oscillate at 4Hz. Orgasm and King of the World! Ithink it's best to take i-dosing with a pinch of salt . brainwave entra inment audio is scientifically provocative. that depends on the composer's skills and the listener's taste. SOme of it is ordered: pulsing brainwaves. There are three techniques for using audio to entrain brainwaves: monaura I beats. they are: beta. one sine wave of 60Hz and one of 65Hz would generate a difference tone of 5Hz. binaural beats and isochronic beats. rather than two tones. then the music you create should stay simple. We emit beta waves f13-30Hz) when alert. turn out the light. having no harmonics. don a pair of headphones. Monaural and binaural beats both occur when two tones close in frequency are played simultaneously. 1"01 perfectly fine with that. sedative.inwaves are :synchronised with an external periodic stimulus. there are so many polyphonic lines of rapid Iy shifting entrainment waves that I doubt It will have any coherent brainwaveentrainment effect on listeners. Marijuana. clear and focused. Difference tone perception occurs courtesy of the human brain. and how this sonic control can be translated Into music. For example.lenge is to remain true to the science of entrainment while managing to Imbue the music with enough drama and musicality to keep listeners engaged.llbinaural beats are usua lIy generated by two sine waves. the other to the right. the two tones are mixed 50/50 and the mix is sent to both stereo speaker/headphone channels. The biggest chal. compelling music? Well. Mind-control music Brainwave entrainment is a technique where a subject's bra. Monaura. E? Hey kids. If your top priority is to entrain. or five beats per second. hallucinogenic. weight-losing. In binaural beats the tones are not mixed. A recovering atonalist. Peyote.

. Check it out: Beat. I turn to my trusty Wave Arts Power SUite. 5 urf. My brain doesn't seem to want to e I1lrEinto the faster bra in waves: m ostl y they just make me feel dizzy. wind. the piece. darling of the brainwave world for Its association with biofeedback. Here's the result: Bralnz. DVD is a one-minute passage of a 640Hz sine W." And finally..wav. The beat's timing and shilling tempo are displayed ln Fig 1..3tlve American drum sample..'. It's thouq ht to offset th e unpleasantness some people experience with sine waves.wav. lnstead. meditation.. the speed of 16th'notes at a downbeat tempo of 6trl05bpm.. _. etc.. Q-20Hz Have a listen to the first sine part:Slne1_wav. 7 In the mix of the three sine parts. As usual. In th e b rl dg es the th ree parts keep cross ing ea ch oth 'Orboth in si ne wave pitch frequency and brainwave beat treq uen the dial / make music now < >Step by step Composing a brain entrainment piece 1 Before I dive into the creation of a brainwave entrainment piece. Enjoy!em > iv1arch 2011 I COMPUTER MUSIC I 83 . Here's a threeminute passaqe In which a sine wave glisses down from 320 to 160Hz while beating down from 7 to 4Hz: Theta:WaY. The Ir trequ encv ra ng e Is 4-7H z. both pitch and beat frequencies remain unchanged: Sines121. In the steady states.. > 9 I've got all my ducks in a row: Native American pulse beat.a 320Hz sine wave begins beating at the lowest alpha treq uency (7 Hz) and speeds up to I he highest ('[3Hz): Alpha_way. > 8 Brainwave entrainment music often contains w:hite-ish noise: rain.3ch steady state homes in on a different band of the total bra inwave treq uen cy spectr um. '> 3 Theta ~rainwaves ~appen during d. dreams and REM 5 Ieep.. In this two-minute passaqe.. . I. > 6 Next I decide to create the piece's foreground: three Intertwining 5010 sine wave parts.rrn tempted to use IZotope Ozone to master.3ve beating at 3Hz: delta:wav. I mix down with Acio.. > 4 . > . Alpha brainwaves are emitted in states of waking relaxation and pre-sleep/pre-wake drowsiness. I use three notse-rlch svnth samples to create a polymelric looping structure that nses and falls like the wind: Wind. As you can see In Flg.2 and Fig l. Yuml > 5 Time to create some brainwave music! . intertwining sine wave trio. My goal is to follow the stru ct ure of the beat: five stead y states bridged by four translttons. because I fear it would be overkill. > 2 Next up is alpha. the depth and p urily of wh ich seem perfect for th e tas k at hand.~~~. I strive for stasis alternating with dynamic variation. and svnth-wlnd loops. my personal favourite: delta. decide to make it an unbroken eighth-note pulse of a low N. let's listen to each of the four entralnment waves on their own. On thee". E. But there's something about a low-pitched delta wave that makes my b rai n sit up and take noti ceo Here's a full four minutes of an 80Hz sine W. arousal and cognition. I begin with the piece's structural foundation: its beat.eep relaxation. . but resist.waY.wav.3ve beating at a beta frequency of 20Hz: Beta. and to draw upon the cal m ness tna t white noise Ins pi res.way. Beta brainwaves arise with active concentration.

. They and promise paths. Look at the OSCillator section. It enabled users to layer two sounds with i. Th is Inl tlal lsed pate h. Activate Voice 2 and click the Voice 2 tab to open Its editor.2 . I got my hands I immediately the Xpander.780. if .. on the Oberheim 12.:!1\Jtof't!I! Files rolder > A few years back. This Is the main timbre.:~ii&"¢#Q C)----~ Rucm.". hlqhlv textural patch The patch we make In 1I'Ie: wallrth((JuQ'h.--= ' .. -{!}- Now.. evolving could modes timbres and Xpander mind the crazy first came across this idea when had no less than 15 filter provided 12 first to choose. Activate the filter's envelope generator. It's time to set up a basic envelope shape.sound essentials Layer things up We take a lesson from some classic 80s synthesisers and create a thickly layered. Oberhelrn's of the rich. On the other hand. In 1980. the same (sort the ante with I never Xpander from and its keyboard-less or a Matrix many of) company by five LFOs and envelope to say.. A few upped Matrix deep modulation years later....- 4 84 Now let's return to the filter envelope.. when instruments. dose behind.... but that didn't sound that I had heard wasting And guess . Next.. s 1 There's a freeware svnth with many of the same qualities found in those big. we can't play two notes. say. I've noted mixing mighty before the power in parallel up Ii Iter types signal settings.. > r:=::::. For our first layer. releasing his Prophet 08 synlbeslset to a world-weary and sceptical community or analogue synth fiends. > 2 > Trigger some notes from your MIDI con troller.I've made the yellow segment linear.Iegendary Prophet-S. I think we'lI keep th ings fa irly sl m p Ie.ndependent and even dlHerent filter types. let's introd uce a new Iaver that w ill create some interest underneath this main tone.. an Instrument which .. ~. > 5 Let's make the same envelope In the Amplitude section by using the Copy and Paste functions to move It across. to own an stop me my own time had the fortune hours (literally!) of both recapturing what that thick. Most obviously. +1 o -2 --- 6 Now we have a basic resonant bass pa ten tna t susta Ins wh IIe we hold 0 ur notes. Uh·oh . Set it to Poly24.I" ~ t .... Let's reduce the Octave to-1. """e!I H[f .po' CJCJ---- as simple as It gets. That's fine. with Needless modular experimenting layered synths. ~.tlcs wasted no time comparing it to Smith's ..greenoak. let's change that to 5. > --~ .. "- can you! >Step by step Build a layered patch in Crystal . fr """'"I!}--J --(!1- -- +.if bulb be told . with one oscillator and no modulation. Select the Saw5quare waveform fa r th Is voice's osci llator and reduce the Octave to-1. _I!}--{!}---T\rPi . beautiful Oberheims. wrangle Who let I couldn't that the up. $0< . then play and hold a note or two... Click the Voice 1 tab at the top of the GUI to call up the editor for that voice. of I and that of a few hapless me play with the things get enough Matrix never salespeople in the stores. Next. then Increase the scales of both envelopes and tweak them so that the amp envelope rings out a bit.. opportunities generators! on my began OBXa was unleashed their astonlshlnalv brother. 3 ~~ -fl--p_~ _. with the filler's following. effects or filtering. The waveform you hear Is the WarmSaw wave.. .Cri. move to the Filter section.....lthasthree oscillators per voice. DaveSmith took a cham:e. '~ only slightly resembles._00 . loads of fll ters and scads 01 LFOs and envelope generators... a slightly squelchy bass. Change the final segment of the amp en ve 10 pe to a IInea r shape...trtc:. > I COMPUTER MUSIC I rv1arch 2011 .. Let's fire it up and play with it... Crank the Resonance up to 0.. Select the filter type XResLoPass from the dropdown menu... Try copying my envelope shape.. those not expecting a done of the once-and-future king of polysynths were delighted to find that..... Both the LoFreq and HIFreq slid ers shou Id be aII the way 10 th e left. CU rrent Iy there are nine envelope Points. Start by calling up one of the Unused patches at the bottom 01 the browser list.. from. Change that by clicking the Poly button. and created a shape suitable for.Green Oak'S Crysl<ll (www. the Prophet 08 more closely resembled some of Oberheim's famous OBX series. .myth lng. is Il'IlI'IF.

280.( I. ' .. let's stray tar away from the analog origins of the OB sound by selecting a sampled waveform such as the breathy Vox wave. using an LFO to control the delay times. say. Make something like mine above and then activate the Loop function so that It repeats Indefinitely. That's alright. Let's activate the Ii Iter envelope for this voice.we'lf 1'1 hip it into sha pe. . A synthesist. ~ -I : " . We activate the filter envelope for this voice and loop it Create an envelope shape that resembles a series of uneven sawtooth waves.700 and Voice Z's to 0. I = it!::tlb'l_ ••• U ---fl--. and is ma inly used 10r its abi Iity to sta ck and Iayer sou nds. hes to fa rm a cohesive whole. You can take this even further by. and dial in different Delay and Feedback amounts for each.440. We also need to reduce the relative 'level of Voice 3. I shuttle Voices 2 and 3 through Delays 2 and 3. The epony mo UsOberheim co n be heard th rou qhout th e tra ck.~: 'ifm-iV~~ . th e ti mbres will SQ wash together. Some modular hosts enable you to resarnple the output and export it as a m ultlsam pie II le.. a wide variety of effects can be used to glu e the parts togethe r. without losing their Individual qualities. Set Voice level to 0. say. It Iust goes to 'how th at this technique isn't only applicable to tracks thai require moody atm osp herlcs' you have a synth (or even a sampler) that has qualities you'd like to combine with. rs . such a5 a Sou n d Font. you'll have a thlck. That's pretty COOl. This ensures that the Initial bass sound is stili the most prominent and that the second layer acts as su ppo rt.but our new sound Is overpowering everythlng~ It could also do with a change in filter types. In fact. exciting. .. rather than sound distinct. On rare occasions.:. Let's try a ResHIPass filter on this and give the Resonance Itself a nudge. . samplers and drum machines. The nine points are fine . This time. > 9 > Let's flne-tune our voice levels using the horizontal sliders In the upper-left section.."_ a~ Z. ~.. sound designer and audio engineer of international repute. em March 2011 I COMPUTER MUSIC I 85 . Crank thefflter's Resonance up to 0. using them to create the 50 rt of Iush.-E.. MORE MODULAR THAN MODULAR! If 5A5MA: XPANOER We'd be remiss if we didn't point out dancefloor master sasne's thumping.those of another synth..~ PoI". If that's what you're after. .so we need to create a complex envelope shape with peaks and. you Con mix th em togethe r I n a me dula r host such as Plogue·s Bidule or Xlutop's Chalner. > 11 '> Play and hold a couple of notes. 12 > We can make the sound even more .. I'm going to make ~II of the envelope curves positive for now.. slow Iy evolv ing Ii mores that are his s pedal ity.. I I~---Seale PoInts _.. not to mention thecm Studio. •• ~i~ ~Sale .sound essentials / make music now < RECOMMENDED LISTENING STEVE ROACHlKEVIN BRAHENY I MICHAEL 5TiERAN5: OESERT SOLITAIRE Ambient mastermind Steve Roach is a lonq-tlrne devotee of the Matrlx·12 and xpancer. and It's drowning out our cool bass sound. l've created a tlve-polnt ADSR'style shape. yo u may want yo ur pale. Yo u ca n also use Voice 2's amp envelope to change the level over time. "'.PoInts The idea is that our second voice will evolve and shltt under the first .. Scot Salida Scot bought his first synth over a quarter of a century ago. PROTIPS COMBO PLATE Though it's great fun to create sounds entirely from scratch. ~~MIi.~""""""i!)-- I ~ . You'll be su rprl sed at how well some d Isparate so unds work when com bin ed. though . atmospheric by routing some 01 the voices through Crystal's delay effects... That's not too .:3 -"". > f~wcR 1 SQle Pol_RU --(!}-. 7 Play some notes. SONIC GLUE Som et Irnes. bumping tribute to the machine ltsel f. When you've finished.. Wi ~ 8 .we want as many as we Can get. he manages to find time to make records for Beta·lactam Ring Records under the name Christus and the Cosmonaughts. _'" !!)--~. textural tone. ~. valleys. rather than sustaining at some static level. glye a rhythmic effect. you could listen to ju st about an y Steve Roach a Ib um from th e mld·80s onwa rds to hear th e Oherh elms doi ng w hat they do best.OOf> .1 set mine to 0:140 and create a slow five-point amplitude envelope shape lor VOice 3..'J~ __ v_Q]f---- 1A Now it's time to activate Voice 3 and tab over to Its editor. th ere is sorn ethin 9 to be said for th e Inspiration that can be found by randomly piling one Ormore exlstl ng patches tog eth er.. Next. this will. I D -rJ. then play andhold a note or two. he's provided factory presets for many of the music software Industry's most acclaimed synths.Route the patches th mug h a single reverb or a chorus effect.: increase the sea Ie quite a bit. J :?_!__j I~---.


the first hints that Tipper wasn't going to stick to one genre began to pop up. lt'sevldentlv an area he is happier talking about. Are the instruments real. has brought that fanbasejust what they expect: the unexpected. what next." he grins. and soon It became the punctuating characteristic of many a. and his tracks were coming out lor download at an almost alarming rate.a fart. Perhaps we're blurring Tipper's lust lor sonic perfection with his continual goal to break new ground.. he surprises us again.Tipper remix and production throughout the 90s and beyond. taken on the mantle of superhero electrornc mUsician. Tlppers knack for playing the quirky card means that this is an album where the word 'concept' Is floated around In blue smoke above the speakers. It's clear that there's something within Dave Tipper that gels everything togethersomething that has led to a longstanding and loyal fanbase eager to lap up his rare releases. TIpper seems to have . "What inspires me? Being anchored to a bizarre bag of flesh that's gravitating to a giant spinning ball. and while that term loosely covers a multitude of perhaps we should be. if that fart works well? ''Although I work predominantly in sequenced toops. why the wait? "I try to utilise as many tricks and techniques Inspired to rave So where has this electronic maverick come from? Stra Ight from the decks! Tipper's early career was carved out over the turntables. So where does Tipper's latest album find him in his musical development. he's well regarded for his minima Iist setups and has been credited with some progressive technical recordings. and when he plays live he mixes In everything he can. At this point. After embracing those early MIDI-only computer setups. "Over the course of a few weeks there will be enough sketches laid out to begin to find ways to integrate them sequentially.tipper /interview < On the raGe of It. "That takes a lot .or at least it seems to. The Surrounded recording. Tipper soon started experimenting with his own musicmaking. investigate it he did. or are they another example of Tipper mastering a technolog leal medium? "It is a mixture of both real and sampler instruments. if It pleases me. that doesn't sit quite right with us. and is he finding peace in any particular genre yet? "The thinking behind Broken Soul Jamboree was to try not to think about It too much.Tipper clearly thinks about things a little differently.ble Factor while remastering and rereleasing back-catalogue material.teC)ordlngs and unreleased material. It's got 21. Achieving the perfect bass sound was just the start. forging a path that encompasses both suptemequality and huge variety. "Modern computing technology is the sole reason I can iv1arch 2011! COMPUTER MUSIC! 87 . controller keyboard and Logic rather than a Delorean sports car. technology doctor ~ like a young Doc Brown from Back To The Future. It's almost like Tipper is some kind of musical. His time In the studio saw him release his debut album The Critical Path in 1999 and follow-up Holding Paftern in 200l Both albums garnered much acclaim. He is Gertalnly among the elite ot 'electronlc' you do . so does Tipper. and produced the track TWister . Included In this crowd of top-quality releases were Tip Hop and Relish The Trough. "I took a lot of initial lnsplratlon from the early 90s UK rave scene: remembers Tipper." So. Ti pper has veered between more downtempo albums (The Seamless Unspeakable Something) and the glitch-hop of Wob. After being discovered by his manager over a conversatlon about the most effective bass in dance . taking four years to release this a Ibum seems both extravagant and particularly thoughtful. perfecting the scratching technique that he still incorporates into his sets today. Broken Soul Jamboree is certainly a daring move. going on to admit that his sampler Instruments are played back to perfection because he spends a lot of time programming each indiVidual note. Awash with sound At this point. Tipper soon followed them. released back In 2004. he has also stretched the very space he plays and records it within. Whatever its 'classic' status proves to be.I think it's a natural complement The stuff Irecorded myself playing [Tipper adds guitar." That revelation is almost a shock to hear from such a sonic perfectionist." Tipper explains. Our next question gave rise to a very unexpected answer. Not a bad start at all. And it's not just in music that Tipper is credited with pushing the envelope. Tipper relaxes. yet it also features strings and acoustlc-tvpe elements. «I like the combination of electronic and organic sounds In compositions . that sounded like something worth investigating. Broken Soul Jamboree. ·'Around the age oilS. touring lnternatlona Ily and quickly building himself an excellent reputation as one of the best live acts in dance music. So. Tipper was already attracting attention for the quality of his releases." Tip tricks Broken Soul Jamboree features a lot of real instrumentation . and so on] was mic'd pretty badly. To me.istening experience. After going through such a prolific stage over the first half of the last decade. His productions took an ambient turn with the release of the aforementioned Surrounded album." We're getting used to surprises from this man now . Tipper was embracing the MP3 format with his own M P3 Surround Sound Player. But somehow. but it was tracks from the latter that were picked up by DJs around the world. Tipper's latest album. and all of the broad appeal of electronica. Since the early ODs. That could be either very stupid or very brave. mandolin. was one of the first 5.11 of the genres you would imagine It to (plus a few you might not). By this time. only with a laptop. Vet through the mind-bending haze of cleverness and genrehopping.. schizophrenic. four years of musical ettort pushed into a concept dance music album and released into a world where people don't really listen to a Ibums. with no sampled loops. let alone the concept kind.1albums designed as a proper surroundl." We think Irs a roundabout way of saying that his inspiration is being alive . but Tipper immediately redeems himself.1 tours' spread over the next two years. which I think is the main reason for the [qua Iltv of] results achieved.. whatever their genre. keys. from which several tracks were picked up by prlme-tlme US TV shows. I found out that people Tech talk When we start to talk technology.of time. 'Til use anything as a starting point ." So. On the technology side of things.. while whispers from the industry mention the album in the same breath as classics like Blue Lines and Leftism. What we can say for certain is that it is typical Tipper . so it's "What inspires me? Being anchored to a bizarre bag a giant spinning ball' inherent crappiness balances well with more polished electronic sounds. For while he stretches the electronica genre as far as he can as a composer." Tipper tells us. given his musical track record.a lot ." Tipper tells us wryly." Tipper confirms. I think ahead in terms of 'one sound at a time. He seems equally at home with ambient as he is with nu·skool breakbeal.he eventually found an outlet for his music on Fuel Records. "Computers are awesome. as posslble. > were using Ataris to make music and not just to play games.which ended up backing no less than the European Renault ad campaign. Just moments after revealing that his recording techniques can be less than perfect. with his work pioneering the nu-skool breaks genre. which came out on MyUtopia Recordings and was supported with special '5. throwing in scratches of various samples (his own music Included) over the top of obscure .

I'm always drooling over a fully juiced 12-core desktop. Which works for me. which has an integrated software interface to pair with the hardware. what software does he work with while acting the recluse in the jungle? "Logic is my sequencer of choice. Using Ableton Live and throwing in samples and beats.just don't expect the obvious. And as for advice for anyone wanting to make music (and make money from music). what would be on his shopping list? «Well. because there's no music store for 2000 rnlles in any direction!" Maybe the solitude that this particular 'bag of flesh' enjoys on this 'splnn ing ball' is the real reason he likes to keep things simple. you get the llquld clarity of the hardware with the added benefit 01 a soltware UI.» When it comes to software plug-ins. And with his most ambitious live plans reportedly underway for performances this year." he notes."I'm also using the Access Virus TI a lot right now. and for that purpose I'll be touring with a Funktion One rig. If a music store were to pop up in the Jungle. "Prlrnarllv. And living on the edge of a jungle. Taking that into consideration. "Mmm . he certainly ensures that he makes the most of it in a 'stretching the boundaries of what you have' 88 / COMPUTER MUSIC I Ivlarch 2011 ." However Tipper views the phllosophv of his live Show (see Live it above for more). why should he care? Jungle. and I wouldn't like to speculate. in Hawaii. simple as tnat." We get the impression that Tlpper's not here for any of that.> interview / tipper Iive in the jungle" .and clubs." he says. But surprisingly." he laughs. "That 'live' word again. Tipper is equally positive about just one set. and that's definitely been the way forward for Tipper. After starting out on the Atari with hardware all those years ago. software ." Sounds great .he now lives in a remote spot in the island state of Hawaii . Tipper makes every live performance different Sometimes using his own unreleased material as a backdrop and at others using anything of quality he can find.. " he muses." he says. "For me. "UAD plug-ins are by far the highest quality plugs on the market. What used to be a fiddly and arduous UI is now an easily navigable on-thescreen interface.em Believe your eyes As we've hinted at. one th ing you can be sure of is that his set is going to be unpredictable.. There will also be a tidy LED visual rig to cover the ocular requirements. "It doesn't weigh anythi ng. but our experience confirms that the 'less is more' concept often wins hands down when It comes to filling hard drives . there's a strong chance that his best gigs are yet to come." With such a diverse output. It "Modern computing technology is the sole reason I can live in the jungle and still produc a record from start to finish without leaving the house" seems incredible that Tipper relies on such a small range of instruments and effects. I'd imagine that in the near future. only takes up virtual space and doesn't get covered in sticky fingermarks or splashed with tea. He Ilkes to keep things small and perfectly formed. the idea is to give people a rich listening experience. the only thing of real Importance Is what Is coming out of the speakers.. doing what he wants and able to take his music around the world.. a Tipper live performance is one to behold. I'll be able to do that entire process without leaving my bed: So. Reducing your options can increase your output as you have less scope for d i th eri ng abo ut. I make no assertions that the word 'llve' regarding computer music performance is in any way equal to the same terminology when applied to an acoustic band..taptop." Tipper reveals . Tipper has a refreshing reply: he doesn't know. "but I'm missi ng the whole <20grand' thing with which to procure itl I'm also still holding out for a thought-controlled brain cap UL Then I won't be glued to my chair for 14 hours at a time. anyway. "lt's all changing so fast that it would be naive to make assumptions. beaches. would you? Thought not. "You can buy it without going to a store."and still be able to go through the entire process of creating and producing a record from start to finish without leaving the house. keeping it software seems to be Tipper's phi losophy from now on. Tipper has strong feelings regarding computers being used live on stage. "I have no Idea. So." kind 01 way.

soundcard. summing box. "In theory." Music production . though.lal power rush has been assimilated. Access Virus and MIDI keyboard". describing his studio setup as simply "speakers. people will spend a little less time on shameless self promotion and a little more time finessing their audio creations. c ." he continues.Broadstairs Campus Pind out more about our degree courses at www.ires." he says." "I'm all about encouraging humans to Indulge their creative des. Business Digital marketing Musk industry management Media Graphic design Multimedia design Photography Video & motion graphics Web design Music Commercial music Creative music technology From nirvana to mediocrity Tipper can't be ttlat far away 'rom his technological nirvana of making an album in bed. His setup Is aHordable and as such accessible to many. as It allows a larger demographic to indulge their creative a Canterbury Christ Church University . but Tipper isn't sure that such accessibility Is a good thIng. because searching for It Is comparable to drowning in a sea of mediocrity.ttlat Is a beneficial thing... Hopefully when this inlt. it seems to make It harder 10 find music one likes.Make your star in the creative industries at . laptop. In practice. which could make for a more favourable situation in the future... a curious knock-on eHe<:t of the internet is thai everyone Is a superstarthese days.. "However.canterbury . "Trechnology has levelled the playing field in that everyone can aHordably make noises on computers and put them on the Internet..

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ve ""!ailS of ruture <>rf rs .3/11. or . 30 Monmoutll Street.OnlY UK residents . Future Pu blishing Ltd cannot be held responsible tor any raillJre to provide prizes as specUied and all enQU iriesre:latlng to such cnzes wl II be rererred to the asscclated c'omp.i!]lf of an assodated company...hing 'limited . Prizes are as stated and no alternatives. cash or ottrerwrse.ged 18 and over enter.Copies or competition entry forms and wlrmers'ust are I3iv. T. to a UK deUverv add . BA12BW_ m. thet they must SUPPlY...aila. Winne" Will be notll"'" within 28 dws or thed<>slng d'teof from FIJ ture 'PUbli. Bath. correspondence will be €:Iltered into. Future Pubfishinq Ltd accepts no.v Ivlarch 2011 / COMPUTER MUSIC / 91 . The eel Itor'S decision is fl MI..of Rob Pap en plug-ins up for grabs Win the eXplorer ~ack.any member of their close family may enter.a nies. liability rQr any 1055. are available. Where prizes are offered on b~h. If you do not want to receive thIS in rormanon The winners will be drawn at random from all entries that answer correctly between 9/2/11 and 14t.'M'. No Ptirctras.ERMS AND CONDITIONS By . and '1'111 men be sent their pr..M ret'ted th ird . these prizes are provided in their enttrerv by these assodated companles. AU entries must be received by the closing date. containing all Rob~ synths and effects.datnagecrlnjurv ceused nv any prizes won.nterlng tniS ccmsetmon yo" a re 'greelng to reoo.'" tree of charge.nd promotion" e please text the word STOP at tile end otvou r messaqe.e necessa ~v. and no.00 plus your standard network tariff rate. Texts will be chamed at £1. the corneetruon. PubliCitv may be gi\l'et'l to' anv comcennon winners a ndfor entrants a nd their names andfur photographs printed. No employees of Future Publish ing Ltd many ccmpanv associated 'Wittl this by written request from Future Publishing Ltd.

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_llotope Nectar 1015_ Universal Audio StuderA800 lOB_Mini Reviews 112_.PHILTAXL Endowed wrth cool features and a banging sound.. ' If the product exceedseXpedations for lis price.lJ1e best product reviewed In the magulne IJ1ls month Ivlarch 2011 / COMPUTER MUSIC / 93 . ._ Excellent. really' impress UswllJ1lts. . .lt will receive this gollY In the opinion of our edltol:.-". Dune is plain to the eye but titillating to the ear PHlTR • bring you honest. A well-conceived and executed product. Our experts apply the same stringent testing methods to all < The latest computer music gear tested and rated! This issue M_. st. functionality and features 10win this one ° e. no matter how much hype or expectation surroundsil What the 1-4_ rat4ngs mean A seriously flawed product that should be avoided outweigh problems its merTts s_ This product's 6_~ _~ A decent product that's only held back by a few flaws 7_Solid.. unbiased IPpralsa'ls of the latest computer music products. great genre presets. _Synapse Audio DUne ___ __ Waldorf PPG Wave3. this complete vocal channel strip will get your singers sounding sweet NECTAR' 10~ExceptionaL It just doesn't get any better than this! • Awarded to products that challenge exlstl ng Ideas and do something entirely new • A produdha. First-rate and among the best you can buy 102 VENGEANCE-SOUND . 9. __ em Recommends Our promise 94_SYNAPSE . 0 AUDIO DUNE Proof that you shouldn't judge a book by its cover. Philta XL hits the nail right on the head for dance producers 04izOTOPE Containing 11processing modules and several.V Tone2 ElectraX Labs Aalto revle • l00_Madrona PhiltaXL 1Q2__ Vengeance-Sound 104. Well worth considering B_Very good.

6~~ ". but they do have a solid reputation going back many years./orf.o( nooe Lei) i)ISh. The wavetable posltlon can be modulated.. " .vd". here you can target indiVidual unison voices (or groups thereof) in the modulation matrix. While it has no 94 I COMPUTER MUSIC I lvIarch 2011 .pfUl manual and give tbe demo a wIllrl ~• It might look pretty average..4aiSl tt".. e.( for iL. where unison voices are free running. and this Is where the name Dune is derived from. The two main oscillators are identical... Dune looks rather plain. read lI'Ie:h!!:l. A". but some serious muscle lurks behind that lean exterior.lntel . LFOs. so we were excited to hear that they had a new soft svnth with an exotic name on the way.".(' ".. On the surface.e. But dig a little deeper and an impressive arsenal of secret weapons 15 revealed .. t'l ov". a standard subtractive synth.e.. "'t 10 IL.. . The Fat control..."'W ovlti". offering up two oscillators. "'''r''-jj''''{o'' FILTEi( TL.. say... then. however.A f(ier /t"... . e:Q.oA "". vf_ ..e..ii. which aids sound design. voices 1 and 2. and there's a sync option too.1" . OSCillator 3 is the sub-osci Ilator...leave it blank and it applies to all voices.. means that Dune can issue forth a whopping 120 voices with a single keypress..od.{1 ..4Y ..(.. this is It Where most synths' unison modes simply stack voices and apply panning and detuning to thicken the sound...'muslc': : Pt:RFORMAN(E : '. ill . you could set up an eight-voice unlson patch and apply filter modulation to only the even-numbered voices. Windows .. 0ff>r. c.!:'1i".. llke any norma I svnth You can solo unison voices from the front panel.I"".vdofe" !:h.ob I.2000!XPI Vi5t~I7. pulse and sine waveforms.r.II Hear audio oemes._e "/.."v"- "..{.> reviews / synapse audio dune L(fV!SOAJ OSC/UNoi( SECTIOAl Tt". thank goodness..u i!r'~"( ow(("to'" ". c"ioff> LFO SECTIOAl ElVilELoPe.". VST/AUhost Synapse Audio may not be the biggest name in the industry.. and if the synth has a headline feature... further excites proceedings.OSX lOA.e.l<SI1!c/"... We parttcu larly like being able to set osclllator phase individually per unison voice. We just mentioned the unison mode. • .A Ii"..~".. Synapse dub this the DifferentJal Unison Engine.(J« (rtfer '""ode" fo lei {t.>i"...A1 . e c bel".1"'t (.. As an example.t' 4.1t-/otr .a ~wj~". and it's fixed at an octave below the first one..... each offering sawtooth.ce. Lead by example It's all made possible by an extra Voice column In the mod matrix. filters andenvelopes.. which turns out to be pivotal to much of the svnth's fun. "...M...s A i itr"-' o'OI{u. ".. St". oA ..""111 ... • COIWlPU1"Dr •• . r=« co .i".Ie.. VST host _ lGHl.:u LFOsl l7~ceA or " . ready to kick sand in the face of the competition > cPU. Where you designate each modulation to the desired voices ... This makes it possible to have the attack of each new note sound the same. while applying pitch modulation to.. b".d {. whIch..u./r/1' . ". .. (rl I".it ( 70"'''' so«..y Md ruer!:' Synapse Audio DUne£99 •• System requirements Eli P41GHz.. ."tr11'. .or"" dd".y . offering seven extra oscillators stacked for each oscillator.. unlike almost every other synth. a sub-oscl Ilator. when you factor in the sub OSCillator and the unison mode. along with a wavetable mode featuring 69 further wave shapes..

lt's crazy that you don't see this more often.yed key. The envelopes and filters are baste but effective. the filter has 18 different modes. too. Duophonic is based around two notes. There are five rather nifty modes. and that can be applied to the filter. we'd have liked a global master tune control in a highly visible spot (le. and a few more effects-related destinations in the mod matrix wouldn't go amiss. we think you'll find something useful here .CoII .II:. comb filter into low-pass). there are three types of Simple mode .synapse audio dune I reviews < . we get to the effects section.ously powerful posslbllitles>_ Dynamic is quite original-It generates the pattern based on the lowestpla. atch after patch P leaps out at you. Seiling point number one for us Is the swing function.Dune Inspires you to start new projects. including 12 and 24dB/oct low-passes. and you can expect to hear everything from searing trance leads and Kraftwerk-style sequences. . whi Ie seasoned! synth fiends wi II relish the novel unison features. egging you on' wavetable capability.. Patch after patch leaps out at you. it also offers a rudimentary noise generator. and about as flexible as Dune 1m Versatile.system Awesome arpeqqiator Exce lIent IayoUl CPU-friendly I!!IIID Can't sync modulation Not enormously effects weicQhty in the bass end Dune como: nes cosiIy tradi! ions I synthesis witil a alty innova tlons and a seductNelypolishedsound 11Ie modulation matrix Is the key 10 unlocking mud! of 'Dune's son Ic potential-II has 24 slots across two pages 8/10 'I/larch 2011 I COMPUTER MUSIC I 95 . a bunch with additional effects like dlstortlon. too. Finally.. Another great touch is the comment window. Alternatively Rob Pap en Predator cm112» 9/10 » E125 Slrnllarlv-spec'd club smasher.. Mod doesn't trigger note Information . although you can fudge it with some mod matrix trickery. Finally..based). ~w. if you elect to use swing). the less useful conventional tuning settings can become In a track._. to highly convincing special effects and sounds based on classic synth patches. But flip through the presets and you'll hear classic wavetable and FM sounds rubbing shoulders with subtractive tones. but any additional keys pressed replace specified notes in the sequence. Whichever category you fall into. It's designed to be a modulation source (with obvi. but it turns out you can set il in the mod matrix . and a mode that only affem the even-numbered voices In a patch. Irs that there are a few too many soft string pads and a lack of convincing subs. but un til th at day. too. opened with a little tab at the bottom left It's pretty standard stuff and the effects are well chosen for each preset We'd like the industry to start issuing fines for any synth released without a g Ioba I effects 0If co nt rol.. a slngle--shot mode that plays It through once (Ideal for creating strum sounds or chip mus. approachable layout and awesome presets. First of I.. Chord rhythmically pumps out the chord you play. which completely transforms the vibe. . serial modes (eg. There's no tradHlonal arpeggiatlon (up. however.icking up Dune cou Id be just the way to start 2011 on a creative footing. _ . There's a lso no unipolar 'Arpingon Dune's arpegglatorlsequenc:lng functions deserve a special mention.'t:I!r-'I- - tlO-t- _ _lIIt- ttL.. It's surprisingly light on the cm113» 10/10» €167 Plies of presets. lIt 1*1DiI _ . It does give you a triangle waveform instead of a sine. §r~at I<!~sets Verdict slick-sounding synthesis Inn ov ative unison mod uIatlon . mode for LFOs. At first.synapse-audio.. No matter what kind of music you make. but it does sound very pleasing and polished in a way that's slightly rem iniscent of reFX's Nexus (even though that instrument is predominantly sample. ~ Dune's programmable sequenc:er{arpegg lalor Is remln Iscent of eel Iling In a tradeer Won't get fooled again Dune fools you into thinking it's sirnple. and the bottom end Isn't the ph ~ service@synapse-audio.. creating an energetic accompanying part (and a funky one. and often suggests how to modulate it If we have one criticism. - . Speaking of which. not buried in the mod rnatrtx). too. We have some other minor gru mbles.hurrah! _ ". and Is great when added to an existing project With its detailed and informative manual and easy interface. as It stops arpeggios and sequences sounding like soulless 80s soundtrack music. There are close to 400 presets.. but not as versatile lennar Digital Sylenthl A synth of many voices So what are Dune's strengths? We'd say its splendid sound. It's also frustrating that you can't tempo sync the phaser!chorus... For further sound-jiggering there's an FM mode that's very easy to dial In. we reckon it's a fine enoree lor less skilled svnth programmers wanting to take a step up. There are some spot-on analogue-esque drums in blips). enabling an exciting and spontaneous mix of sequence and live play. It's not a particularly analoque-soundlnq svntn... which gives details of the current patch. such as separate filters for each main oscillator. wide-ranging sonic possibilities. And on top of that. as the richer the sound. and all In perfect time. egging you on to start a new track. p. we were perturbed by the lack of an LFO phase control.. even with all those unison voices. down. and other filter arrangements.onelhat plays back the sequence on a loop..rather... etc). you'll have to flick off the effects for each patch manually If you want to hear it dry..

Windows XP/Vistan.. OI(..e"""vd~£. Waldorf PPG Wave 3. The soft version has been around for nearly a decade now and. but wavetables really come alive when using modulation to dynamically sweep through the waveforms.2 and 2.<1" "f for rl~t. "'~.I(.3 hardware (or even the 2..t.._ . Hear the emulation. along with the ability to select between the sound of the 2. a real PPG.. It.tlf't'Dl "' . fr/er Co 050L.110 drir(".. .. but the PPG clone seemed to be collecting dust..OS X 10./ r-."..fro(. there has never been a significant update...( Pt<~eI ".Jo Ir".( t...4IVEL.d 'Oll:.e#t It...'''f''' "".. A brace of buttons allows access to the digital facilities.I( £'" . Fl(a::.y ""'tt."( It.e synth.. fwvEL..~.-".( 14~l dr.~df~U PAIVa F/<1r""". "I' O'~<1 .o"" ()~.ujtY 0" V''''''~'''' ct.... Happuly..ds or ..4H A'w1" HI!)I 10 ...{IVCTIOIV ""OM~_..e(rwe PPe.5GHz Intel CPU... We·ve·seen variations on the wavetable approach (Including Waldorf's own Largo).e I~ t. fixes and even a repackaging. ft. Hu". '" 1 PAIVEL. ~"(J".e . and developers can now take advantage of a lot more horsepower to hone their emulations to a T and provide keen extras like built-in effects. It's a vast improvement over the hardware's arcnalc two-line LCD display... the interface is divided between familiar 'analogue' knobs and slightly more cryptic digital functions."v<1 ~ . resu Iling in the shifting.". 56MB RAM. ~~rA...LA'TOI( Offer.".decl bel""el1. The sound is as familiar as the GU I..c". though Instead of the usual smattering of simple waveforms..e.( c<c:tl:-.( '"ro« vel~"" ""."~..42GHz PowerPCI1.d. f:'hcf. that's just what Waldorf have done with the PPG Wave 3V....e..r(hobs for . Feeling blue The interface will be instantly familiar to anyone who used the Wave 2V or..ftsI "". • cQw.-'". each consisting of a series of digital waveforms strung together in a linear fashion.4515 ()d-. ...sli/or. . 2 (the originalJ. VSTIAU host 2 Waldorf's PPG Wave 2V virtual synth Is an emulation of the classic PPG wavetabl. The hardware saw the light of day in the early 80s and experienced a number of revisions. while the top half is used as a detailed display of the deeper functlons.<1.£ft_ te. The True PPG mode must be activated to achieve the most fa Ithful emu lation of the original..I".5GHz CPU. ..terlW 6. .. 5decl ".'~" of IZe ""wd"b(e ".2 and 2.y ft..r<1~ "r fry !o.. the PPG uses wavetables.4L. 1 ... though we'Ve seen minor tweaks.o.. for backward compatibility).I"./e " Ct.'~e. .IT. 256MB RAM. New additions for the 3V include a wicked Drive function in the fi Iter section..y...""o"("fe..( ....d . VSThost > 1II1."..."....(.e ftfer I"bcsl. 2....le . " ."e co"lro( .".. vs 1I'IE!:(]rlgll'lalat'ldt-eCidall abcut It in the manual The virtual version of the legendary PPGWave gets a long-awaited update.". evolving timbral changes that are the PPG·s calling card..".~" . This allows for a far greater range of sounds.{TTOIV5 f fe. it..Ir~.. pI(O(......3....f. As with the real thing.It. Technology has come on a great deal since the PPG Wave 2V was first released.> reviews / waldorf ppg wave 3v fl.V £119 • " • :"mUslc": : PERFORMANCE: ... yo.(eof It...1.". /J/.rr~f/~ ".' (( f~d w!.~.V software. The filter itself features 12dB and 24dB modes....oo....r''''jj'~/or MOOIFlt-l(:. providing features long desired by PPGaficionados System requirements Elilfltel P41AMD Athlon 1. 96 / COMPUTER MUSIC / March 2011 ... The analogue section recreates that of the the hardware with only a few va nations..d drl. i(e re.' e... ./..". Subtractive synthesis is the name of the game here. That would have been a shame... ..( "(et."e ".. indeed.4.

Still. they Col n each have their own processing.followed by the clone. shaping classic PPG bass. even decades on. you can plainly appreciate the hard work that Waldorf's boffins put In to the filter! It should be noted that the filter itself is the same as the one used in the 2:V .all carried over from the real thing. the sampling is a nifty addition and in terrific to have access to all of those familiar 80s sou nds. characterfut sound of the original PPG Waves. Of course. the PPGWave 3V provides an awesome.PPG Wave 3V still sounds terrific and is the closest thing to a real PPG" Waldorf have included a full complement of effects this time info@wa. six-tap delay and. The Wave 3V comes with the original Waveterm factory samples. and they are loaded in via the Digi page. Yet we can't help but feel a little disappointed that more of the Waveterm's functionality wasn't Included... we set up both the real PPG and the 3:V with the same parameter values -the real one plays first.3 mode. and we couldn't think of a better way to put their claims to the test than by comparing Keeping it reaL So how does the software stack up to the hardware? As the Wave draws upon dlgHal rade from any 2V version. Again. We'd dearly love to see the ability to cobble together custom wavetables (Waldorf suggest that this might be implemented in the future).3.2 and 2. say. in most cases). overdrive. You can adjust sample start and loop position. Obviously. Nevertheless. Which isn't uncommon in emulations. pretty close. our excitement may have been a little premature. Very well done. and it can even read Wave term disc images (with the help of thlrd-partv freeware).Iads! as you'd expect. €1l9 cm142» 8/10» (199 Packs in more features. so if you stack a bunch of patches up in a multi. the oscillators are.wa ldorf ppg wave 3v I reviews < . phaser. It's very rudimentary by today's 3V with the gritty. the differences are slight Indeed: they really only became evident when Using AOSR 1 to sweep through the selected wavetable.2 for our review.and c<lme away Impressed Terms of endearment Many of the sounds that we associate with the original PPG machines came courtesy of the bulky blue sidecar computers known as Waveterms. The ability to layer programs with indiVidual effects is alone worth the upgrade fee.v version.ln these examples. As with the original. like Its old man.lgl nal March 2011 / COMPUTER MUSIC I 97 .PPGl' has always sounded this good. custom wavetables and more. The main differences that we found were in the envelopes. gritty sound that.waldorlmusic. You can plainly hear this in the files . the real PPG is heard first. However. with greater ftexibility to boot.3 respectively. If you are lucky enough to have an original Waveterm lying around.V brings enough new features to Justify the cost 01 upgradl ng. The effecls are assigned and saved per program.aH and PPGTestWaveSweep2. which Is far more accurate on the 3:V. and the Waveterm samples often have confusing names . there's no denying that the PPG Wave 3. It turns out that the envelopes In the Wave 3:Vare matched to the slightly faster envelopes of the the Wa. Wave 2. . It just so happened that we had access to an actual (battered) PPG Wave 2.acter·packed dassic Isnow more convincingthan ever.V's No user wavetaoles This emulationor a cha. It still sounds terrific and it's the closest thing to a real PPG. much of the cryptic nature of the 3V's hardware forebear is still in place . Yes. as our PPGTestBass. our antlclpation-orneter went off the scale. The final example is a recording 01 Initialised seHlngs with the resonance cranked high. Sweet.The original patch names stili give nothing away as to how they sound (superb. the first two being in keeping with the PPG Waves 2. These disparities are even less noticeable when. There's an display Is a heck of a lot easier to grasp titan tlte two·llne LCD of Ihe o. 01 course. you can use up to eight different samples to create a multi (assuming that each of the eight parts ls responding to the same MIDI channel). and the clone sounds after that. ALternativeLy Waldorf largo What's it bring to the table? It's easy to expect too much from an update that took so long to arrive" While we'd have loved more Waveterm functions. chorus. The improvement comes In the way H responds to the envelope. See Keeping it real for the results.alf clip demonstrates. 9110 111ePP6 Wave 3. However. and even though you can switch between emulations 01 the 2. It seems the envelope Is always in 2. Here. 8·" 12-and 32·bit playback resolutions are provided.2 and 2. while the cutoff sweeps from lowest to highest settings and back. but that's really the point: 10 provide an authentically retro experience. we have to say that In the case of the PPG Wave 3M. grainy grandiosity of the real thing. providing sampling. These heavy-duty processors opened up new possibilities for PPG owners.. em w. Waldorf's press releases have made much ado about the diligence applied to recreating the harsh. there are some slight differences. but not a lot else. Does custom waveforms! Verdict StOiCk up to eig ht pa te h es r. They all sound good.3 modes hardware. It should also pique the interest of those who didn't grab the 2. will make the most jaded synthesists sit up and listen.ldorfmuslc. but doesn't quite have the raw bite of the PPG ConcreteFX Kubik cm142 »9/10» £54 A true 'sleeper' synth packed with options.the 3.Vdoes import samples (dubbed 'transients' In PPG speak). When we heard that the new PPGWave 3V was to Include the sampling of the original. a reverb. Irs still sensibly priced.alf on thecm DVD. We compared the PP6 Wilve3:Vplug-in to theorlg'lnal hardware .

Ci 1"fl I '" .{f 10 /t.4 Tonez garnered a lot of respect with their Gladiator synlh . or " b(~~A Al':rl':Oi vIII.d>!S rl1_v~rb" hJ II_..-t().yen of Ii. ..'. ~ IAJ<.you'll also find wavetable....~ (._. but they do offer 98 I COMPUTER MUSIC I March 2011 . Plucking brilliant As well as basic sample playback. They won't change the way we think of synthesis forever.EI<I Fx l~d".'vl':.bdl':r VObb(~1 c._'1 fro. phase distortion..fe. or heavy. L"~ rm.e sy~/i..:_f" Ivo I"bl Fx 10 d". 512MB RAM. though. r'1 A"".ese I"bs lifffy ""y of Ii.... (32/64·bit) Windows ME/XP!V..4sr1"iA' "'11~ AI': fo".1 FIL-TEI( .. The actual control layout is good..oj"(.... OS X 10.{ Of. 'v.Nl"'kl~ 110/) 11/iT/(. as the others are severely afflicted with a. sync.ore Cre". The output from all the synth:s is mixed and pumped through a global effect...enable the Crossblend PW option and waveform transitions are smooth Iy blended.. 512M8 RAM... FM and more. Fractal Synthesis is new 10 us. Enter ElectraX./X Te~ siols s.{seIi..OL.._e ..1 0".~-!ve" e S't~ . Ugh\. Some purists and sound designers balked at its polished sound.. The PW (pulse width) knob otters extra functionality for some oscillator types..-~A f. and Torrez say that Improved skins are In the works./W't-~ ••: / . Noise/Fractal..'IIcl'lrInl!t!L dl!...· .-". read the manual and 5't!.l':re..f"-!t.. and that's your patch.{. LAYE 1(5 "I' 10 fo".(':/ "crOll LF() Everyli.. vlfZ Ar...> reviews / tone2 electrax 5Y1Vm Wor._reefer (ei/U'...~4:.L.Y" l~n~lMU"'" ".i .~~~~\ : PERFORMANCE: •••••lr. Ultrasaw.".1.. it provides a range of unpredictable-sounding oscillator types. 10 1.!I.. additive. Hear audio eemces.". and that you can't combine multiple waveforms to create custom wavetables. most notably as the waveform selector for wavetable modes ...cheesy glow effect that impairs legibility....~f co~/rofs for f".stal7 _ 800M Hz G4/G5flntel cPU. We'll focus on the anatomy of a single svnth layer during this review..(}:. wonder they bill it as a 'sonic warrior'! Fire it up and you get the same form ldable svnth engine times four. Tone2 ElectraX System requirements £149 They say that a jack of all trades is master of none.le "'''fl':jj'.?1': . In practice.( filer "". It was that good.". but this power-packed new synth aims to prove that old adage wrong • /<.e "'~lfi 10 Ii.. It could also be raw.10 ~I:'. but we must mention ElectraX's 13 synthesis methods. The first thing you'll notice is that each of the four svnth layers has its own totallv different GUI skin.4 effedl b...0. Sample and Wavetable.4TOI( I. . categorised under five main types: Virtual Analog. and Tone2 reckon it's based on chaos theory../ !..i..irftll':r. The first layer's white fascia is the best of a bad bunch.i~ I':" ."/e t_-AJVEwPE I.. . We don't want 10 bore you with statistics. split across as many tabbed was a gift 10 everybody from film-scorers 10 dance producers.~A yo".r L.cA"..'' ~~I~ l>fIu~~' I":: .......-{(v..' f1A5TEI( Px i~A"-feh. but when tweaked in the right way. there's a resvnthesls function that analyses a sample and plucks out Its waveform so you can use it Iike a synth osclllatcrlt's a shame that you don't have control over where in the sample the waveform Is extracted from.I~-- ~-"'''''\II). saw and square waveforms . but do bear In mind that you can effectively multiply the lot by four. The Vi rtual Analog category offers far more than the tvplcalslne. l-ffl-cl."'~~ I".'~ ~ ''''1''&~ces ~d I... ~01 I._e HoM ~"A "Ad a ~{l IEiIII IJOL..~j (ofl .~. VI~ Ii..ICk into the demo IJI'!l > I!ISOOMHz CPU.... which looks for alilhe world like Gladiator on steroids .

But dodRY"9. but since you can stack so many oscillators and use four svnth makes a great track-starter. though. you should have some Idea of the scale of ElectraX and the sheer number of potential combinations.y old thing.tone2. they're Incredible. And to that end.but the best way 1. but as we've pointed out.. vocoded patches. Powerfu I indeed.nthis way.. who will relish its sheer power and diversity.. ElectraX is reminiscent of top sound modules of yesteryear. a string of classlc noises (everything from Beat Irs opening synth to the kind 01 80s stabs you heard in the disco scene in Robocop) plus so many current-sounding presets that you'll think all your club sound-a-like Christmases have come at once.5 find a vocoder that does It all to for you. All you need to do Is load up your own samples In the Oscillator window. We should mention that we experienced a few crashes and bugs while using the synth.tone2 electrax I reviews < . It's perfect for novices as a sound bank. It's an essential purchase. input as thetr modulating source.1fix should be out by the time you read this . creati ng interes Ii ng inte ractl ons. By now.y they can sound like nothing more than a cheap toy robot with a cold. Bu. In many functional ways. but It Isn't too heavy on the CPU. and we'd like to use it in the same way. There are lots of tricks that you can employ . ElectraX does a pretty damn good job. there's great-sounding sync and FM on the second and third oscillators. The lFOs in ElectraX are stunning (three regu lar plus a step-stvle one) and more than a match for the kind of bass line modulation that is so popular right now. play and retrlgger words at will. Including most of the examples you've heard on hits for the last three decades.. and fully deserving of being your one go·lo synth. They sound excellent too. ElectraX has seen a lot of action during our review period. diversesynthesis Exce lIenl III ters Good con troll avo u t. mr:m . and will suit musicians of all levels. and there are some intricate. ou might suspect it Y of being quantity over quality. it sou nds mind·blowing. When done well. there are a whopping 45 oscillator types. You might find yourself using a couple of Instances of ElectraX to get the whole vocal down I. It's that simple. with a nifty swing control . The arpeggiator reeks of am Verdict Stu~~ preset_s__ Great vocoder Hug ely powe rful. The twin multimode filters offer up a massive 23 modes. Now.. Load you r own wavefotmS inlo tile sampleplay~ck module and """ode the hell out of 'em! Robovox Vocoders are a funn.lncludlng resynthesis Super synth me ElectraX allays any doubt that Tone2 make hugely versatile svnths that can excel in any genre. but a v1. and remember. and we have to say that It's hard to fault it.@!2hics __ _ eng ine Nomultipleoutp~u~ts~ A rid ie u 10usly com plete synthesis outstandinq dO'it"all vntn s and excellentsonks make ElectraXan Each 01Eledra)('s fbu r SV'ltlls has Its own slnkl ng fascia 9/10 Ivlarch 2011 I COMPUTER MUSIC I 99 . You might suspect ElectraX of being a case of quantity over quality. and you can stack up to three in each synthlayer. See the manual on the em DVD if you crave yet more details. 50 that shouldn't be a problem. such as Roland's JV-l080 and E-MU's Orbit V2. you get one per layer. and as a whole. including analogue-modelled ones and oddball options like Vocals and AI iaser. straight from your keyboard. the results don't break much new sonic ground. it's helpful for intermediate users learning how sounds are made. percussive sounds.everything from enunciating your words clearly or exaggerating what you're saying to adding white noise in your DAW to put the definition back Into your speech .we tried It and It dld Indeed resolve ou r Issues. fresh-sounding tones too. in a club or on TV and radio. If you want to go ott-plste. and some of these are so useful that even sound-designers can appreciate them. Our favourite things Electrax's 560-preset factory bank is rammed fu II of almost every type of sound you've ever heard on film. and It's rewarding for experts. But for all its tar-out synthesis methods. by loading your vocal Into ElectraX you can. there are a number of controls that you can use to tweak the sound. all of its component parts are terrific. In total. Alternatively lennarDlgltalSylenthl emss » 10/10» (169 Another preset powerhouse but nowhere near as Ilexlble Camel Audio Alchemy em137» 9/10 » £179 Powerful synthesis/sampling englne. ElectraX has a tasty vocoder bank that covers a Wide spectrum of vocoder ~w. we'd say it doesn't matterElectraX never lacks fatness. rightl. but ElectraX sounds mind-blowing" some esoteric sonic twists. Synth fiends may spot that there's no unison function outslde of the U Itrasaw synthesis types. with all the analogue-style juice and warmth you cou Id need. What's more. the Initial lze button offers up a ltst 01 templates for numerous basic sounds.ilding sequenced groove patches is so fun and easy that it would be great to mix them separately. Top of our request list is a rnultl-output version. It's still fantastic in its own right. You get one insert effect per layer. but when done badl. Another great advantage of using ElectraX for your vocodlng tasks Is that whereas traditional vocoders use an audio track. The key Is In getting them Just the right si de of Intelligl ble. Some 01 our favourites Include inspiring four-layer __ orders@tone2. There are four envelopes with adjustable smoothing and 18 effects including an excellent vocoder (see Robovox. but our advice for novices Is simple: use the presets on offer here.

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