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GOm uteF?

Theultimate guide to


> Devine lttachir Krishna Synth > MackieTrackti > Digidesign 00

> Ohm Force |

>Alesisiolzo fi :
ohmicide E

Builda complete trackwith DnB

Sub Focus, heavyweights Chase& Status andDanny Byrd!




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


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

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

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

ComputerMusic is a member ofthe AuditBureau of Circulations,

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Thetext paper in this magazine istotally paper chlorine free.The manufacturer and Future Publlshlng havebeenindependently certified in accordance wlththe rulesofthe ForestStewardship Council


August 2007CoMPUTER l.lUStC I OOr



the Recreate ThePolice. yourself soundof Summers

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irfifliINBOX Dothewrtlethtngl il{tiq NEWS Lt, at yorr Read aLl about of course lelsure. fl}.}"A THE BURNING QUESTION pLug-tns so Why aresome CPU? hard onyour PLUG.INSFOLDER ffi:}"S plugs forplugrns More

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2007 MUSIC August 004 | C0MPUTER


your licks hottest Drag andscreaming kicking the2tstcentury! into

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


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MINIREVIEWS of nineProducts spread A hearty CM RECOMMENDS rate Thestuffwe reallY

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new in Digi's ThetoP-of-the-line system ProTools-toting ALESISIOI26 thisaudiointerface Onpaper, to be a winner would appear SYSTEMREVIEW: DIRECTRESOLUTION DARCSTUDIO+ lt'sanother Ohmyquad! beastof a comPUter four-cored

MUSIC 2007C0MPUTER Ausust | 005 ronan.macdonald@f

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

Music Computer MessageCentre 30 lvlonmouthStreet Bath BAi 2BW

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

Trialled and failed

vol 23: I'vejust boughtCM SPeciol and therearesome Guide, Beginners and intoin there- just great afticles

2007 Auqust MUSIC C0MPUTER



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

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

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

Not so zippy
magazine, hands cm is my favourite of the down. Theothermagazines so keepup tradepalein comparison, the goodworkl issue Yourmost recentIrockersl (cm113), whilea wondedul however, issue in its own right, did something pissed me off. Thesamples that really (which I useregularly and on the DVD are oftenwofththe priceof the issue intoa Zip alone) werecompressed timefile, whichaddedseveral I'm to my process. consuming steps a large Zip now required to download unpack fileto my modest harddrive, the samples the fileand thendelete than I don'twantone at a time,rather auditioning themone by one,directly fromthe DVDitself. please reconsider lf at all possible, in the future. using this method


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

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

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

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


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Consrdered by many is tunrng to belhe daddy its of notation software. Srbelius upto ',ririeash rrer pubhc. rdLesL rrrbLdu rl on an adonng Wrll thoseplayback creases beironed out at last?
rguably the mostfamous The new SoundWorld systemwill notation softwarc in existence, automatically choosethe most Sibelius could be reaching a appropriate soundsource fromthe

A newSibeliu

devices available as yourtune is replayed. Theselection methodis intelligent and can be configured to your preferences. As a simple example, if there'sa particular samoleset that workswell for pizzicato violinparts, but another that you'dratheruse for sustained bowed passages, SoundWorld can take careof this for you behindthe scenesby dynamically switching to the relevant soundsource. Essential is supplied, which harbours The mixeris now a compact, sounds fromsome big-name libraries, verticalaffair,which is said to be including those of Ganitan. moreappropriate for the Sibelius 5 nowhasfull application and can handle VSI/AU instrument support too VSVAU effecb as well.Youcan really thisshould appeal to those now controlthe volume of groups withtheirownprefened sample of instruments, such as brass, libraries or ROMolers. with a singlefader. new crescendowith version5. Popular with composers the world over,the programis knownfor its easeof use and ouickworkflow. Previous versionsweren't however, particularly renowned for their ability to playback convincing renditions of scores,but that's one of the things that SibeliusSoftware hope to address this time around. A 2GB KontaKPlayer2-poweredsound library calledSibelius Sounds
x- :. rr. ,:r -:_t:gJ !_ ? 1l
^ A lew of Slbellus' new ftures In acdon, Includlng Hub at the top rlght

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Having witnessed some of Sibelius back into a scorewhen needed. ideas in action, one of them Thereare 2000 preprepared 5's features particularly to us:the ldeas supplied, too, covering a rangeof appealed repository styles- these are said to be both Hub. This is a central We in whichyou can store insoirational and educational. wouldn'tbe surorised to see other snippets of musicthal you come up with implementing similar developers whileworking systemsin their own software. on a prece. Sibelius 5 shiosthis summerfor versio Yourideas PCand Mac.The Professional single can be tagged, is 1595,whilean Educational from copy is 1363+VAT. Upgrades otganised, You searched and earlierversionsstart at 199+VAT. previewed can find out whatwe thinkof it in ou at anytime, reviewnext month. no matter whatproject you're working on,anddropped

008 | C0MPUTER MUSIC August 2007

Four-way scratch
e thoughtwe'd already spottedall the DJing products spinning around but somehow this one this summer, has creptin underour radar. Quacl, frorn Schaak Audio Tpchnologies. is ''vinyl-controlled MP3mixing and software for Windows PC, scratching' youto connect enabling up to four via an ASlO-equippecl turntables audiointedace. lt allows for automatic tempomatching of up to fourMP3s and leatures an array of built-in loopsamplers effects, andfilters for DJing. creative Theinterface appears to be slick and intuitive, and the videos on the ste arepromising, too, clemonstrating bothQuad's VlP3 mixing capabilities and the tracking whenscratching withvinyl. Schaak for vinylDJs, saythat it'sdesigned so you'dexpect it to be up to,er,scratch In Ineseareas. Youcan clownloaci the Quaci sottware to try out rightnow with any ASIO lt alr,tays runsin soundcard. you're demomodeunless usingit withthe QuadVinyl Timecoded discs, therefore there's no needfor a software copy protection system, though thisdoesmeanyoudo need

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Don'teventhink aboutusingthis unless you'vegot some vinylin your hand

at leastone turntable to actually be ableto usethe fullversion. Schaak planning aren't cLrrrently to offer a versron thatcan be usedsolely with yourcomputer. At the moment, the QuadVinyl Timecocled cliscs areavailable for an priceof 160+VAT introductory and a i6.75 shipping charge. www.quadscratch,com



Leopard spotted
n almostcompleteversionof Apple'snew OSX Leopard is now beingpreviewed on apple. off over300 new com, showing features for the Mac's nativeOS.For instance, Spaces is a slickviftual youto desktop system, thatenables group yourwindows together into - handy for 5epdrate desktops musicians witha lot of pfojects on the go,Quick Lookletsyou instantly practically preview anyfilewithout





A new Dock design, Stacks and a revamped Finder are among Leopard's 300 new features

ran openina g n a p p l i c a t i oa nn , cy l o Lc now browse filesin the Findef with Coredlolt. as previou>11 :een in iTunes. TimeMachine apparently takesonlya single clickto set up,

youto "travel llackin anclallows long-deleted files. time"to fincl

I p n n a r rI i \ p \ t ) p r I p rI t n r n a k e i l

intothe wilcl in October

Is Leeright,or doeshe needto take sff his rose-tinted spectactes and start a Mrfpaceprofile? EmaiIyourthoughtsto


CM:Beginner's Guide
t Place your dlgltal camera on the Surlace and sharc all your favourlte flower

f you'verccently made the switch to computer-based music production,or need a rcfreshercourse on the basics,get your handson the cunent cm Special:Beginnefs Guide. edit and mix Learnhow to record, tracks,DJ electronicand guitar-based and produce with your MP3collection a remixusingthe likesof Reason, TraKor, Sonarand ACID, AbletonLive, Garageband. The Recommended sectionhelpyou choosethe right gearfor yourcomputer-based music production needs. ComputerMusic Speciolvol.23: now BeginnefsGuideis available WH Smith, Borders and from selected Barnes & Noble, or onlineat:

Don't scratch the Surface

gear Microsoft upto rntroduce tabie-top
I rF/v L(r rt) Lv Lr I

cnmnr rfinp'tn fhe masses .


ulti-touch, multi-user interaction lookssetto hit with the mainstream,

Microsoftaiming to bring it to the generalpublicin the shapeof their rccentlyannouncedSurface. Dataobjectscan be controlledon touch screen the device's3O-inch them aroundand simplyby dragging manipulating them with yourfingers ('multi-touch' meansit can recognise touch points). multiple simultaneous physical can also recognise Sudace objectsplacedon it. In one of the a digitalcamerais put demovideos, whereupon it on the Surface, to it and connectswirelessly automatically spillsits imagesout onto the display. Thetable-tooformat makes multiuser interactionpossible,not to mention takingus backto the 'cocktail table'arcademachines of

old.Multi-touch, multi-user Pac-Man, anyone? Surface willat firstbe installed in restaurants, hotels and where willbe casinos, theaverage Joe able to gethisgreasy hands allover it by"ordering a beverage during a meal withjustthetap of a finge/', or emptying hiswallet byplaying virtual poker. Surface costs though $10,000, willinevitably make it thetechnolory intotheconsumer marketolace outtheDownsompled column {check if youjustcan'twait). Although wasn't Surface designed withmusic in mind, thepossibilities in termsof DAW control areobviously very intriguing it'sactually Since running Windows Vista behind the we'dimagine it should be scenes, possible fordevelopers to adapt their existing music applications to the platform relatively easily. www.micrcsof rface

Cunning Ploy-tec
his snazzyand "unprecedented" devicefrom Germany's Ploytecis ^ h's all about designedpurelyto the red button measurethe latencyof an audio signal path. uo to Youhook the Latenc-o-meter press the targetdevice(or devices), 'clicK the red buttonto send a throughthe systemand the display shows how long it takes to pass to 0.01ms. throughit, accurate of audio lf measuring the latency systemsis your idea of fun, get one of websitefor 333. these from Ploytec's

is brought to youby CDM: Downsampled Music, the must-read Create Digital the tongviawon ontine blogexpressing teqhnotogy trends music

August 2007 oroI courureR Muslc

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yourbrass eye Open

f you'regettingbrassedoff honkin' tryingto reproduce in trumpets hornsand parping your productions, then Wallander's series WlVlWl VisualInstrument) could be for you.Thefirstinstrument 1, is Brass in the range collection synthetic whichofferscompletely tenor of trumpets(in B'), recreations French hornsand tubas trombones, lt'sclaimed thatthesecombine {inF). "advanced modelling" behavioural from acoustic with data gathered of lhe and recordings measurements to yield"extreme actualinstruments, capabilities". realism and expressive and rotate Youcan also position (aswellas the the instruments position) in spaceusing a listening graphical and WlVl's intedace, will respond engine acoustics TheN4P3 demoson accordingly. website arecertainly Wallander's and it'ssaidthatyou can impressive, "out of the box", get such results with Brass1 alsosportsa littletweaking. environment vector and 3D graphics t;,,rtiiik*.,i.. i


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Blowoff some steam by rotatingyour little instruments on screen

(powered card,so as by yourgraphics and to not affectaudioperformance), requirements are low since memory it'snot sample-based. as a BrassI is currently available plug-in Windows VST and costs$599.



Rise to the challenge!

fter the successof 2006's contest, a regular eventwas inevitable, and we'repleased to announce that the KVR 2007 is about Developer Challenge to kick off. it lasttime In caseyou missed Developer Challenge round, the KVR i s o p e nt o a n ya n da l la u d i o and the developers, software in question is to "create challenge and release a brandnewfreeaudio plug-in or audioapplication thatwill at large". the community benefit tools Youcan useanydevelopment you like, and writeit for any0S,The cutoffdate for entriesis September 03, with votingtakingplacebetween 22.At 17and October September fund is the prize the time of writing, to the can donate up to $685(you - lastyear it prizepot via PayPal reached a not inconsiderable andthereare non-cash $2147), prizes on offertoo. in the Manyof the entries previous weregenuinely event Fire, suchas Mdsp's stunning, Anna, the fun andfunky Stefancrs's from BramBos, Battles Lunchbox Triple Cheese, u-he's and,of course, with away whichendedup walking We'resurethat the the firstprize. thisyearwill be just as standard high, if not higherl developer challenge,2O0T.php

Are you readyfor the challenge?

MUSIC 2007C0MPUTER Ausust I 0rl


plug-ins Whyaresome so hardon my CPU?

It'salttooeasy to maxouttheCPU meters track inloa andturnyour str-tllering mess, butshould thisreafu shllbehappenrng lhesedays?
s the power of computerc increaseseveryyeai so too do the system requirementsof

r Arturia's excellent Jupiter-8v ls unfortunately a ruthless plllager of CPUcycles

algorithms. elaborates Z3TA+'s developer, Ren6 complexnon-linear Non-linearities enrichthe harmonic Ceballos, of Cakewalk subsidiary "if you havea dull basswith contentof the sound,but in the digital c:audio, probably the programs we runon them.Audio worldtheyalso introduce no point artifacts a dull attack, there's applications aretraditionally knownas 'aliasing'." Aliasing is a big in calculating it up to 22kHz(around system-intensive, but are programmers headache for DSP engineers the limitof humanhearing), there's simplygetting lazy, not feeling the needto optimise theircode so heavily thesedays,or doesthis greater power consumption of processing yieldsuperior really sounds? Arturia's Juoiter8v scoreda whopping 9/10 in cm113, the only realcriticism beingthat its stellar probably tones come at the expenseof a hefty it requires nothing in the spectrum reducing oversampling, "Mostof the yet moreCPU program chunkof CPUusage. Thatparticular meaning consumption. above5kHz. processing powerneededby the Z3TA+ willsoundidentical aI50oA Cakewalk's synthtackles or I0O% goesintothe reproduction the consumotion quality, Jupiter8v issuewith its but at 50%it'llonlytake half 'variable quality of the analogue sound," explains mode', allowing a the CPU. lf it'sa brightpad,you might quality Nicolas Bronnec, technlcal director on setting to be reduced wantto doublethe available {this project. "Ofiering the JupiterSv the altersa numberof internal bandwidth usingthe 2x oversampling." parameters) characteristics of an analogue Thereare other factorsaffecting at yourdiscretion, to synthesizer in software form requires relieve CPUconsumption the CPUload."Forinstance," of a plug-in, too. For


012 | C0MPUTER MUSIC August 2007


' Z3TA+enables you to adiust its quality setting to suit your CPUneeds

- the samesimulation notebook now is around 9%. A complex simulation, such as a dynamicreverb with a very longtail,is using around 2094 CPI on a new IntelDuonotebook, My planis to extendit to i5-20 distodion kernels, but computers aretoo slow rightnow."

We're a bit boredof our - mainly iPods dueto their lackof a touchscreen andinability
lUfffdnv --

It's graphic
processing restricted to the offline realm; now we can use them as a real-time tool, applying the soundof a reverb spacecaptured froma real roomto yourtracks- something that normaldigitalreverbs can'tdo. Evennewertechnologies are emerging that can accurately capture and recreate the soundof non-linear processors such as compressors, complex dynamic reverbs, modulation effects and more. Thiswouldhave beenthe stufiof a madman's dreams not longago,but it's nowjust about possible withthe processor inside youraverage homecomputer. Acustica's Nebula range of plug-ins are one such example. Theyutilise the revolutiona I Volterra ry Vectoria (WKTJ, Kerneling Technology which allowsfor the accurate recreation of manyeffects, fromhigh-end analogue compressors and EQs to complex reverbs and modulation effects. 'Thefirstimplementation wasvery CPU-intensive," recalls Acustica's "lt was clocking Giancarlo DelSordo. up over80%on my Centrino 2.2GHz Kernels act like individual synth voices, eachcontributing a modelled harmonic, Morekernels willmean moreaccurate simulations, but today's PCsstanto feelthe strainafterthe firstfiveor six.However, fonvard-thinking reckons Giancarlo that we mightalready be sitting on the veryhigh-speed number-crunchers that we needto far exceed this. "Graphics arelikemodern cards mathsco-processors," he enthuses. "GPUs Processing Units]are lGrophics specialised in parallel computations; the amount of RAM and the memory throughput arethe main problems rightnow."Programmers like Giancarlo are keenon exploring the possibilities of exploiting such processors for purposes. au0ro So it'sclearthat however much programmers CPUpoweris available, will find a wayto use it,whether to increase the quality of existing technologies or to introduce new techniques. Perhaps in a fewyears time Ihe Burning will instead Question be:Whyare some plug-ins so tough on my graphics card?s:flr

a start, therearetwo common methods for pedorming DSP processes: sample-based and block-based. Sample-based systems require lessmemory and allowfor faster modulations is typically {this how hardware synths work), but block-based systems arequicker. "Triangle ll, Pentagon I and Z3TA+ are someof the veryfew sample-based lsoftlsynthesizers," "They're continues Ren6. more CPU-intensive than othersynthesizers, though on the otherhandtheyallow for the full-bandwidth, bright, richand distinctive soundthat anyone who plays perceive." them can immediately

pnone callsor access the net.Luckily, the Apple iPhone looksset to address suchissues in style.lf you're in the you USA, should be ableto try one out right now,YouluckY'TheiPhone our so-and-so. nas.Put troos rosname TheUK'spremier EastEnd-based soapopera has piqued our interest, for cm88 was recently seen nestling on the shelves of the Minute Mart. We'llbe returning the favour with a feature on recreating that famous opening drumfill usingonlyfreeplug-ins. We're itching to try out Harmonix's forthcoming Rock Bondfor Xbox360 and PS3- it allowsup to fourgamesters to plugin plastic, instrument-shaped controllers and rockout Fights havebroken together. out in the cm offices over whogetsto playwhat, though we can always'go solo'with Ubisoft's strum 'em up JomSessions, or the forthcoming Guitor Hero, bothfor DS.

Process this
Modern computers arealsoenabling us to makeuseof the kindof audio processing techniques thatwould havebeentoo intensive for real-time use a few's not always fairto compare the way plug-ins tax the CPU, evenif theyappear to be madefor the sametask.Convolution reverbs, for example, wereonce


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August 2007C0MPUTER MUSIC | 013

Going On Quad's
The Phenom's processordie - it looks set to be a killer CPU


Cannie Jean-Marie
Tellus aboutthe earlydaysof lmage-Line, and a littleof the history. company's Afterdoingstockmarket JMC: for with Pavell Software software aboutsevenyearswe wantedto have turneda somefun.We quickly 'adult' previous Tetris cloneinto an gameand offered it in the smallads in Computer Mogazine. Thiscaught on and peopleaskedfor more- we and got in decided to do a CD-RO|\4 bed with Private, one of the bigger players in the adultgames market. Around the sametime,IBM We launched the DaVincicontest. turnedone of the gameenvironments game, into a moreor lessrelated mailed it in and wonfirstprizein the Multimedia category The most paft,however, was a interesting calledDidier 19-year-old developer (nicknamed who not Dambrin Gol), but also onlywon the Gamecategory, prize. We immediately the Overall noticed histalentand convinced him to workfor us. firstgamefor us was Privote Gol's Investigotor. Thiswas our lastadult productand it was pretty sick.The factthatyou hadto shootand kick for old ladies closeto a wallin order MB players to usetheirbodies to jump higher lce-T to shout, caused "This game beatscocaine!" after playing it for halfan houron our boothat the adultshowin LasVegas. Howdid you and Argucome up with the idea of Deckadance? JMC: We cameup withthe idea during a meeting for Deckadance at NikkiBeachtwo yearsago while we werewatching a DJpedorm Sadly alongwith a livesax player, Nikki Beach wouldbecome enough, the last placewherewe wouldever as he crashedoff a cliff see Argu, driving homefrom our meetingon June3rd. Sunday,

AMD are set to releasethe desktoo version of its quad-coreBarcelona processorbefore the end of the year. Although Intel have pulled ahead in the oerformancestakes with their Core 2 Duo series of chios. Barcelonafeatures plenty of exciting new technologies,including "dual dynamic power management". Could these end up being the most powerfuland efficientdesktop processorsyet?

In related news, lntelhave announced that quad-core laptops will be hitting the streets as early as nextyear. According to the chip manufacturer, thesemachines will be aimedat personal rather than business usersbecause currently therearen't enough multithreaded quad-core applications to justify business machines. www.amd,com wwwintel,com

A p p l e h a v e u p d a t e dt h e i r h i g h - e n d lvlacBookPro range.The f1299 model has had its processor pumpedup slightly from 2.16GHz to 2 . 2 G H za , ndthe 11599and f1799 m o d e l sn o w . h a v e 2.4GHz processors, up from 2.33GH2. T h e m a c h i n e sa l s o h a v e m u c h faster Nvidia GeForce 86OOMGT graphics cards, and their RAIVI optionallybe upgradedfrom 2GB to 4GB,though this will of course cost extra.The displaysnow use more energy-efficient LEDtechnology, - a bonus for which is mercury-free the environmentand anyone wont to break open their computer's monitor and eat the contents. The MacBookPro range just got Pro-er

Whatqualities do you lookfor in a programmer/developer? Do you approach them.or viceversa? Theyneedto havethe skills to deliver decent DSPbut otherthanthat, they haveto fit in with the waywe work fromhomeand iworking conesponding by mai andforums). As for who approaches who,Argu hadfinished AODIX and wasworking \'!e wereshopping on a newsampler. to license a newsampler, so we asked h i mi f h e c o u l o de\elop itfor hadToxic andwe us.MaxxClaster askedhim if he was interested in working for us to produce a couple of newsynths, Poizone and Morphine. Howdid you come up with the Deckadance advertand haveyou had a good response from it? As we wanted to buildon the JMC: 'decadent' themethatthe name implies, the original ideawasto have kissovera laptop two girlsFrench a liveset,but as thiswould during haveset us backtoo muchmoney we went for a stockpicture a friendof mine,Frank De Mulder, had made. lt was the firstad evermentioned - it cedainly had an impact. online What'snextfor lmage-Line? Do you haveplansfor Mac versions of products? your PC-only ls the Mac marketbig enoughto make it worthwhile for you? porting JMC: We'recurrently Deckadance; Toxic, Poizone and runon 0S X. Morphine already we should According to our sources, at leastdouble if not quadruple our turnover due to the extramarketing possibilities we getfrombundling the gear. getting with hardware software reviews and tutorials in magazines and so on. Other than that,we'reworking on but we the new FLStudiorelease can'tdisclose a lot aboutthat.


got the power USB

get enough Can't of USBdevices? Wishyou couldclutter up every roomin the house withthese technological marvels? Your wish has beengranted: innovators lcron havedeveloped a system that allows USB devices to connect throughout yourhouse via mainspower sockets. Using Panasonic's HD-PLC chipset, the initialprototype is a USB 2.0 four-port hub and dongle set that plug-and-play enables standard connection of anyUSBdevice. The system operates without the need for additional software drivers on bothWindows and Mac OS. However. withtalesof 'wireless oower' popping up in the technology news of late,we wonder if we'llactually be usingmainssocketsystems at all for muchlonger... wwwicron,com

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MUSIC August 0r4 | C0MPUTER 2007

sesstons Online

ln cm113 we offeredtlvo bundles consistingo{ a Korg Kontrol4g keyboardand Korg'sLegacy Collection 2 0 0 7 A n a l o gE d i t i o n , l o v e l ye m u l a t i o n s whichfeatures and o f t h e M S - 2 0a n d P o l y s i x M o n o / P o l yW . i n n e r sD G o o d r i c ho f C o u n t yD u r h a ma n d P a u l H o l z h e r r of East Sussexwill both get to w i e l d a l l t h i s a w e s o m ea n a l o g u e inspired power.Turnto p75 for a c h a n c et o w i n a n i n c r e d i b l e collection o f s a m p l eC D s .

Indaba's Session Console enables you to make sweet music with your long-distance pals

t's still in the beta stageof but Indaba development, newSession Console is Music's likea slickwayof looking already on trackswith others collaborating lt runsin your via the internet. and looksmuchlikea browser withvolume DAW, complete standard envelopes and simple automation mixing controls. has beenstafied, Oncea Session can invite otherLrsers to the creator an Audition by uploading contribute (forinstance, trackor extra a vocal AIFF This or MP3. synthpaft)as WAV, can thenbe addedto the mix,befole down, and evenmixed beingsaved for distribution. Members can ready and alsobe paidfor theirwork,

your fpedback can be leftto indicate - positive experience or negative of i,tor\ing u,ith Inu.icirn. d cerlain no luckfinding lf youre having musicians in yourareato suitable makemusicwith,it'swellworth clrecking out.Indaba can evencloa little matchmaking, recommending whoseneeds matchyourskills musos f o "\ o u l o I p a mu p w i t h a , n d\ i . e versa, There's a demomixthatyou can try out on the site- the intedace proves to be quiteintuitive. you Inclaba's Free account allows to transfer up to 250lvlB a month, whilea ProaccoLrnt allows for up to 10GB and costs$10 a monthor $100 for a year. www,

S o n i c c o u t u rs e n e w 1 . 2 G 8e B o w f o r K o n t a k t2 G u i t a rs a m p l e l i b r a r y i s c l a i m e dt o b e t h e and EXS24 f i r s t e v e r s a m p l e de B o w r e L r e a t i oT nh . e e B o wi 5 a c u r i o u s d e v i c et h a t y o u p l a c e i n y o u r p i c k i n gh a n d - a n e n e r g y field vibrates t h e s t r i n g sw i t h o u tt h e to tones n e e d f o r a p i c k ,l e a c i i n g t h a t c a n s o u n du n c a n n i l lyi k ea c e l l o .h o r n a n d m o r e .l t ' s o u t n o w )r 947 (DVD). f o r 1 4 5 ( d o w n l o a do

Those busy guys at reFXhave u p d a t e dt h e i r N e x u sR O M p l e r ( 8 / 1 0 .c m 1 1 0 )t o v e r s i o ni . 3 . There'sa new distoftion m o d e ,a n i n t e r n a l i m i t e r arpeggio a n d ' l o c k s 'f o r s e c t i o n ss o t h a t y o u can load presetswithout affecting those parts.They'vealso released for Nexus two exDansions Hardstyleand Store'n'Forward. are $70. Bothexpansions www.refx,net

yd d - l o o k i nc gh a p s l h e p r e s u m a b lo have S o u r r dS y s t e m s at Humanoid released a f o l l o wu p t o t h e i r S c a n n e dS y n t hV S T i t ' s c a l l e d S c a n n e dS y n t hP r o .l t u s e s a r a r e called'scanned technique only available synthesiso ' ,r i g i n a l l y Newfeatures as paft of Csound. filter, echo i n c l u d ea p o l y p h o n i c soundquality etfect, and improved lt and efficiency . c o s t s 9 0 a n d i s PC-only. currently

is ra P h y s i c aM l u s i cs T i m e F r e e z e c u r i o u st h i n g i n d e e d- t h e y s a y that it "freezesany kind of audio in real time". There are both VSTiand VSTeffects versionssupplied,for working with prerecordedWAVS use respeclively. and real-time Simply hit the Freezebutton and t h e c u r r e n ts o u n d i s h e l d i n t i m e l o r a s l o n g a s y o u l i k e .T h e r e s u l t s ,s a r e u n l i k es i m p l e l o o p i n g a are used analysisand resynthesis lt s for Mac or PC. instead.

USIC C0MPUTM ER Auqus 2t0 0 7 | 015

' ErFbitvbrslonh plannedfor dle ' The good news for those fuh1rc. running,Ubuntu 7,04already 0ike I anyorle who just plckedup one of the:' Dellsystems descrlbed above) is that you can add the Ubuntustudio packages software as well as the real-time kemelto yourcunentInstall from the softwarerepository. lnstructions on howto do this are available on the Ubuntu Studio site.

What is it?

one of the greatthings aboutworking fromthe Linux command-line is that you haveeasyaccess to everything you'vedone recently. Typehistory 10 you to seethe lastten commands typedwith a number nextto each.lf youwantto re-run something fromthe list - say,command number seven, simply type!7.Youcan alsobrowse through old commands by hitting the up and downarrowkeys.

Hexstatic's new album,WhenRobots Go Bod,is out now on NinjaTune.

016 | C0MPUTER MUSIC August 2007


TR-uly TR-iple TR-ouble

> Recrate Roland's best beats wltfi tfie AI'M vlrtual beatbox

getenough If youcan't of vintage Roland getready drum forthebeatrng sounds, tife... of your
Youwaityears for a Vnical. decent virtual xOxbeatbox I I ptug-in andthenthrceturn up at once!Polish develooers D16kicked things offwithDrumazon, a virtual 909 (cm113, 9/10), whichthey're dueto follow up withthe 8o8-apeing Nepheton soon. However, Swedes AudioRealism arefighting backwith theirowntakeontheclassic Roland drummachine sound withtheir ADM Drum Machine}. {AudioRealism ADM willdeliver notonly the ubhuitous sounds of theTR-808 and TR-909 machines, butalsothose of theTR-606. Thelatter wasthe percussive brother ofthe IB-303, T quite andwhileitssounds aren't as sought after, they've stillgotthat venerable vintage charm about them. There's a 32-step internal sequencer onboard, aswellas 'pattern-controlled FX'(PCFI, whichcanbe usedto automate anyparameterfor eachstep. There's alsoa fullcomplement of pattern transformations, as well as randomisation andcopy/paste functions. MlDl CCcontrol andMlDl learn arealsoon thecards, andyou patterns Rebirth canimport andeven those froma real909. There are25 separate drum generators, eachof whichis saidto be a meticulous recreation of the original circuits, along withfourPCM waves to recreate thosesounds that weresamples. AudioRealism say thatthe accent effect forthe bass drums andtomtoms, andtheway the hi-hats andcymbals reactare particularly realistic.
The PCV$ of ADMwill be out this summer,with a Mac VSI/AU versionto follow.The orice is as yet unconfirmed, but as well as the plug-in, you'llbe ableto standalone buy an ADM+ABL bundle, ABLbeing AudioRealism's wickedvirtual TB-303.


Barmy Origaml



nother giant ROMplerlibrary for you to conside[ Vi2 lnstruments'Vl.Oneclalms

ellow Tools arebestknown for theirfantastic sample libraries, as wellas for Independence, playback thelrhlgh-end sample Instrument Their latest release is an processor effects called Origami. previous Yellow Tools' forayinto theworldof plug-in Freedom, effects, impressed us greatly withits clever andstructure, concept but mostof its sounds leftus cold,andwe awarded it only 5/10in cm101. However, whereas Freedom wasan effects rack thatattempted to do it all,Origami 1.5is focused on convolution effects suchas reverb, so hopefullyYellow Tools havemanaged to capitalise

points on their strong thistime- we likedthe Origami LEthatwasa partof Freedom andIndependence. Thefull-blown Origami is saidto offer"extremely intuitive and easy-to-use rackfunctionalit/, similar to thatof Freedom. ThePositioner youto move your module enables instruments andsound sources within the acoustic space of the currently loaded impulse response file- there areover 25 such filesincluded, and youcan import yourowntoo. There arefouradditional insert effects thatyoucandropintothe racktoo:4-Band Parametric EQ, Gate, Channel Manager andXYPanorama.

for evgryong,..
to caterto every musical styleIn whichis a prcttybold the world, statement if everwe head one. What we can be sureof is thatthis extensive library boasts over1000 instruments. kitsand FXandcomes soread across fourDVDs.
Powered by KontaK Player2, the packageoffersa standalone Vl.One app and AUI/5|/RTAS/DX| versionsfor both PCand's available now and it costs 1225. rvrw'

^ Convoludonmade slmple!

We'llbe unfolding 0rigamias soon as we can to find out exactly how it performs. lt's availablenow for PC!5I and Mac VSI/AU, and it

costsf129. t/vu,w.yellowtoolscom

0r8 | CoMPUTER MUSIC August 2007

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Tidyup yourtunes
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Best known for their sample discs, HomegrownSounds have branched out with the Astralis Pack for PC.The VSTiSynthesizer lenglhyfeature list of the main VST|includes two independent synths with dual and spectral tvvincascadatlle oscillators. filters.seouencers,effects and a microtonalscale system.There's a simoler version of the main in the pack too,and instrument it only costs 130. www.hgsounds,com

Virtual crooning comes to your PC courtesy of Sweet Ann and PowerFX

he first productpowered 2 Vocaloid by Yamaha's technology comescoudesyof "saucy vocalist" Their vifiual PowerFX. Annand hervoice is knownas Sweet who was comesfroma realsinger thusenabling reconled extensively, of a lifelike digital the creation who is saici to be a "pure crooner popstress" witha "warm vibrato and

preview her dulcet tonesfor yourself, and,of course, adclheras yourfriend We werepleasantly surprrsed at viftual the improvement overprevioLts Youcan vocalists thatweve heard. viathe enternotesand typein lyrics window, or impoft built-in sequencer Youcan play standard MlDlfiles. 'her in real-time, too,and thereare of vocals available up to 16tracks for simultaneously. Youalsohavecontrol range" that'ssuitable unmatchable jazz, pop, breath, velocity, overdynamics, house and more. genoer an0 more. Spnsibly,> bFinq Sweet Anncomesas a VST|/ toolthan billed as moreof a creative package otrL l t e for PC. r e at llting. ReWire/standalone , r r p p l d c e m pfn or It'savailable nowas a download though Anndoeshaveherown priceof $149. page( on DVD at a laLrnch MySpace you can where vocaloidsweetann)

with e were impressed bundle, WaveAfts' previous PowerSuite5 (9/10, cm102), but if yoursoundis in need then you of more drasticattention mightwantto checkout theirnew Suite. Thisis a MasterRestoration for set of processors comprehensive tape, of grotty up the souncl tidying vinyl anciothersuchdubious crackly audro sources. in the pack: There arefiveplug-ins M RH u m ancl M RN o i s eM , RC l i c k that the kindsof adefacts remove MRGate wouldsuggest; theirnames gatei whileN,4aster is a goodold noise all of the other combines Restoration plug-ins intoone,for thosereally jobs. tough Suite Restoration TheMaster for Mac soonbe available should UB)and PC AU/RTAS/VST/IVAS, (RTAS/VST/DX) at a priceof f300.

rh a t m a k e s N o w h e r e ' sa R O M p l e t a c h a n g ef r o m t h e u s u a l :t h e l a t e s ti n E a s tW e s t ' sQ u a n t u m L e a pr a n g ei s a i m e d a t f i l m ,T V , nd will a n d g a m e c o m p o s e r sa e n a b l et h e m t o u s e f l a m e n c o guitar,gypsy guitar,Django-style p e r c u s s i o na , c c o r d i o n st.r o m b o n e l nd a n d v i o l i n( i n b o t h c l a s s i c a a gypsy style)and more. Quantum L e a pG y p s yi s o u t n o w f o r P C a n d M a c w i t h a n R R Po f $ 5 9 9 .

reKon'sVSTEditorseries for PC or Mac enables you to control hardwaresynths via lvllDlfrom a VSTcontrol panel, so you can treat them just as you do plugins in your project,automating their parametersand so on. They have Editorsfor the Access Virus, Waldorf Pulse and MFB-PolyLite, and have just releasedNord Lead and Lead2 Editors.Support has been added for Intel Macs too.

MUSIC 2007C0MPUTER Auqust | 019



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pffifl${HT i; SY*it;
ore iPod gadgetry this time from Xtreme Mac, who say the MicroMemowill "turn your iPod into a portable recordingstudio". We wouldn't go that far, but it does look rather handy for a spot of field recording. You can record at two quality levels and there'sa built-inspeakerfor playback. iPod and iPodnano versionsare Regular available now at 140 from the official Apple store or 560 from Xtreme Mac.

sI}LAffi i{"&Tffi
larmingly,manufacturers Merakiclaim that their innovativeWi-Fi products are intended to "unwire the world" - yikes, However, their Outdoor wireless network signal repeater can indeedbe freed of all annoyingeldernalwires by pairing it with the Meraki Solar accessory kit both shown here.The idea is that you can use these products to put together a low-cost shared wireless network across a large area.The Outdoorwill be S99, with the price of the Solar TBC. Both are on sale this summer.


p meraKl. 020 | COMPUTER MUSIC August 2007

fi$isF'$gffiFi* PAffiffiffiT
wireless stereo speaker is sure to he Parrot PARTY get your joint bumpin'with its twin 3W speakerswell, as long as no one runs off with it. You can beam your tracks into it from any Bluetooth Stereo (A2DP) music source(eg,a mobile phone,MP3 playeror computer),and they'll be reproducedwith allegedly uncanny accuracy.This Parrot has a few tricks up its effect, and sleeve,too: there's a built-in stereo-widening '\r'irtualSuperBass'beefs up the low frequenciesto give the Parrot PARTY "a surprigingpunch". lt comes with a rechargablebattery that gives up to four hours of wirelessfun, lt's out this summerand costs 180.

$.itfiHTf, ffieTi:$q.t

f you love your iPod nano, but you're a ham-fisted,butter-fingered oat the FactronRe-nanois the product for you. The case is hewn from solid titanium and it costs a cool Y99,750via the website of KiwamiStudiolnc - they tell us the UK price Iapanesemanufacturers will be about f450, with an aluminiumversionfor 1180.Justdon't drop anything on the scrollwheel,as that remainsunprotected... rwrw.kiwamistudiojp

or "extremelydiscerning ears", the AntelopeAudio 10M atomic clockingunit is designedto be lsochroneaudio used with Antelope's master clock range.Thanks to its rubidium core, it providesan even more jifter-free and accuratesample-clocking signal to your digital devices.We're not sure if it's necessaryto wear a radiation suit while hookingit up, and even less ears could sure that our bass-blunted discern the difference.But we still want one, cos it looks well posh.

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MUSIC August 2007COMPUTER | 02



tr, E)

'n' Drum bass is oneof themost sophisticated forms of popular musrc around, andonethat's constantly evolving anddeveloping. Inthr.s exclusive fourof thescene's tutonal, mostrespected producers show thevnarl DnB sound... thatmassive vouhow
houghdrum'n' bass remainsan genre,it's one that can be underground heardaroundthe world.Originally a predominantly UKscene, the pastdecadehas seen globalpopularity. DnBachieve In the 21st century increasi nglyaffordable computer musictechnolos/ has encouragedproducersfrom everywhere to get in on the act,whetherit be soulfulsoundsfromthe likesof Brazil's DJBungle and Japan's Makoto, or the morbhard-edged styleof SouthAfrica's Counterstrike and the Netherlands' Limewax. Despite the perception of DnBas a throwaway dancegenre, it drawsfrom an enormous rangeof influences, including hip-hop, rock,trance, dub and house, and boastsDroduction standards that are unqeustionably secondto none.Constantly changing, the soundof DnBin 2007 is practically unrecognisable from the twistedbreakbeats of jungle's heyday or the uncompromising minimalism of tech-step. ModernDnBcombines its myriad influences with high-tech soundsand stadium production values to createa styleof musicthat's felt as much as it's heard. The onlydownside of DnB's increasing complexity is that it can be difficult to get right, especially for noviceproducers. Withthis in mind, weVehookeduDwith some of the finestdrum 'n' basstalentthis sceDtred islehas to offer. Sub Focus, Logistics, DannyByrdand Chase& Status


producers are all highlyrespected and between them havereleased trackson the DnBscene's premier Valve, labelsincluding Ram,Hospital, Renegade Hardware and more.

ln this, ourmammoth Ultimote Guide to you'll Drum'n'Boss, each seeandhear producer working of on a specific aspect a comolete trackin theirownstudios. youneed, Everything fromsample selection andpatch creation through to mixing and arrangement, is covered in depth, withno stoneleft jungle unturned bythese
giants. Be sureto checkout patches the videos, and audiofileson the DVD, and remember: watch your

music lmake

TUTORIAL FILES you'llfind On the CM DVD exclusive samples and patches, plus overan hour of video. Thiscan be playedin most media players,but if yours isn't compatible try the free VLCfrom

MUsrC 2007C0MPUTER | 02s

Chase& Status
hase& Statusbegantheir production paftnership with a remixof Future Cut's 20/20 on the much-loved Renegade Hardware label.Subsequent releases, including the TenTonne EPon the same label and DuppyMon on Breakbeat Kaos, helpedcementthe duo's reputation as masters of the banging dancefloor tune.The pair aren'taverse to the occasional 'musical' momenteither, as clemonstrated by the BingoBeots tracks- Loves'Theme andln Love. As well as working with some of the best-known labels and artists in DnB, Chase & Status havealso branched out intoothergenres, including breaks andgrime, and haveremixed and worked with someof the UK'sgreatest urbantalent, including Dizzee Rascal, PlanB and Kano. cm took a trip to the pair'sLondon studio, whjch usedto playhostto no lessa musicalinstitution than PWfs Hit Factory to see how Chase& Status get their dancefloor-smashing beatsin software.

Thebasisof the beatis a kick drum froma samole CD,whichhas beenEQ'd to remove the verylow end. '.- Thisis done so that the kick'sbottomfreouencies don'tclashwith the bassline. In an idealworldthe kick - Inspector will peakat around100H2 XLfrequencv analyser is usedto makesurethe drumsare hittineat the correct frequencies.


Nextup,a tight,punchy snareis added. This pealisat around200H2and hasn'tbeen compressed at all.Thesnareis layered up with another one that peaksslightly lower, around1g0Hz and addsa bit morelow end.Againthe sampleis left unprocessed. At this stageit,simpoftant that evefihing is kept as cleanas oossible.

The main kick and snarearen,treverbed at all as this wouldtake up valuable spacein the mix. Because the beatsin drum 'n' bassare so fast.and so much of the frequency spectrum is taken up,adding reverb to thesemain hits can muddythe soundrather than enhance it.


A shoftopen hi-hatsoundfrom a hip-hop sample CD is added intothe mix.Thisgivesa good high_ end sheen. Again, the soundis hardly processed at all - just a littlelow-end cut is usedto ensure that no roguelow frequencies can messwith the kickor bass.

To complement the single-hit drums, an old drum ,n' bassbreakfroma sampleCD is addedon too.The . snaresin this breakhavea longerrelease time,and the breakadds a levelof grit to the clean-sounding single hits.Thisbreakalsocontains a coupleof hi-hathitsthat add interest to the existing simplehat paftern.

A light breakwith a lot of reverbis added next.This is high-pass filtered to sit behindthe beats. To add to the shuffle,some of the snaresare shoftenedand programmedinto a shufflepattern,which adds more grooveto the beat.Theseshuffleswork well either olaved continuously or sporadically.

026| C0MPUTER MUSIC Ausust 2007

music now I make



I l


Drum'n' basscan soundemptywithoutsome splashy drumsto add to the energy leveland give high-endpresenceto the sound.A rock-style break is usedfor this,high-passed up to 1400H2 so that onlythe too-end remains.

Yetmore splashcomes courtesyof the Amen break, whichcan oftenhelpfill out the frequencies and give a beat more's had all the kicks removed because theycan suck awaythe ener$/fromthe original kick sound, evenif they've The loop's beenhigh-passed. hatshavebeenusedto reDlace the kicks.

version A reworked of the Amenbreakcombined with the Thinkbreakis layered on top.Thisadds gritto the beat. another layerof organic-sounding Thefinallayercomprises some bright, airyhatsthat are quitehardto makeout but add that finaltop-end sheen to the beat,

Oneof the mostimportant thingsto get rightis that the sub and the kick worktogether well. Thiscan be testedout by programming in a simplesub-bass line.lf the kick and the sub soundflabby togetherthe track won't work as a's really imoortant to makethe efforthere.

Whencreating a beat,Sauland Will makesure -10d8in Inspector that it doesn't XL lf exceed any of the frequenciesexceedthat levelthey're likely to trigger whichwill a club soundsystem's limiter, reduce the volumeof the wholebeat.

TheChase& Statusmottofor beat-making is "lessis more", If you try to add too many they'llbeginto phaseeach otherout. elements Another impoftant tip: be really accurate whenediting when drumsand breaks- if you don'tzoom in tightly you mayfind the beatsend up sounding editing, too loose.

MUSIC Aueust 2007COMPUTER | 027

nowI maKe rnusic

he iounger brotheroffellow Hospital anist \u-Tone, Logistics has garnered a reputation for creating tracksthat fuse the best : :-rents of both musicaland bangingdrum 'n' is a good example :ass, i s earlytrack Together of vocals :- s andwhileits smoky, soulful and warm aren'twhatyou mightexpect from :rothing synths the trackwas championed by : clubsmasher, oor-orientated DJs, including AndyC and cancef '.iarky. namebut to two. hisdebuton lohn B'sTangent labelin Since r.r03,Logistics hasjoinedhis brother as a Hospital a hugenumber of tracks for an st and produced and Bingo Beats. He even abels suchas Valve jungleclassic, remixed an all-time Leviticus' Buriol, for V Recordings. you could Withsuch slick production techniques be forgiven for assuming that Logistics runssome impossibly expensive, complicated setup.However, in truththe Cambridee-based break-meister usesa

few selectbits of software running on a PCthat's seen betterdays. Proof, were it needed, that you don'thaveto spend thousands on fancy equipment and software to get a trulyworld-class sound. - or l\4att ln this tutorial, Logistics Gresham, as he'salso known- showsus how to get soohisticated soundsfromthe most basicof equipment as we lookat the mysterious art of resampling and cook up that most recogisable of DnBsounds, the classic wobblebass.

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[ u " 1i : i l " W E l E " E .-. ., r you'relimitedto a ceftain Withconventional synths numberof oscillators, filtersand effects, but by you can makesomething resampling synthsounds much morecomplex. Thisis especially usefulin Reason, whereyoursynthoptionsare limited. Here, Matt startsout with a basic Reese-style synthsweep,based on tlvo detunedoscillators in Subtractor. E \ /4\q$lrn6 o? P It ii

Thissynthis fed through 4's Tubealgorithm, Scream and tweakedwiththe unit'sverybasicEQcontrols. At this stageit's advisable to keepthe soundas clean as possible, and whilea littledift is good, too much means you'llhavea lot of nasty, to deal with distonedmid-range oncethe soundis resampled.

synth. The nelit sound is taken from the l\4alstrijm created by Thisone has much quickermovement LFO volumemodulation. and a lot more slightly by highJrequency content thoughthis is curtailed Whenthis patchis played with the a low-pass filter. bass,it gives the sounda lot morecharacter. Subtractor

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patch from a lvlalstrijm AnotherReese-esque synth is layered on top.Thissoundis quiteharshand features somefilterLFO modulation, whichadds movements and rhythm. Though the various rhythms might not soundpafticularly usefulnow they'lladd moredetail to the soundonce it's been resamoled.

Thenextlayercomesfrom Reason's NN-19 sampler. synththat'sbeen . The sourcesampleis a resampled processed with a phasereffect. Thesampler's high-pass filterhas beenusedto get rid of the low end, and the soundis run through 4 unit.The another Scream distortion helpsbringthe soundout in the mix.

welly, a simple To givethe soundsome low-end else.This sub-bass is placedundereveMhing sinewaveoscillator. comes courtesyof Subtractor's oftenusesis to playthesub on a coupleol one trick lvlatt a fuller with the higherone turneddown,creating octaves, soundthan a sinslenotewould.

028| C0MPUTER MUSIC Auqust 2007

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Anotherresampledsynth is added next this one processedwith NN-19's band-pass filter for a sllcK f t techy sound.A major part of makingthis kind of sounds is gettingthe filter fiequencyspot on, so that the sound cuts thrcughthe mix The final sound is yet another Reeseftom a Malsttim with automated filter Cutoff. >> -

Oncethe super-huge snth sound is done,it's al exportedas a wavefile and loaded up in the audio X llJ editor Wavelab,where it's normalised. One copy is while another is processed with waves savedout straight, MetaFlanger set to a slow rate beforebeing saved.HaMng when we get two versionsallowsfor morc experimentation to the next stage. >>

the soundsare loaded up into Back in Reason, al ltttl-tS samplersin a ftesh proiect.Herethe Nl*19's tl low-pass filter is used to further processthem. lf d you'relayeringup copies or differentversionsof the sarne sample,try de-tuningthe samplersto createa thicker can be avoidedby rollingoff the bottom sound.Phasing end of one of the samplersusing a filter or EQ.

Th" startingpoint of this sound is a squarewave in with an LFO controllingits volume I Subtractor modulation. The modulationenvelopeis used to controlthe oscillato/s pitch,droppingit down to crcate a fallingsound.This is then sent througha low-pass filter to take off the dirty high-endfiequencies.>> I

lt's importantto get the sound of the filters right t belore tne sound is exponed,though if you save out ) E a copy of the projector patch you'll be able to return to it later shouldyou wish to changeit - this is important no matterwhat you'reresampling >> to remember,

can also proveusefulwhen creatinga Layering wobble bass.Here,Matt's using anothercopy of the sound run througha Scream4 unit with low-endcuL J Youcan automatethe distortionto get some dirty movementgoing on there too, and a little choruscan warm up the sound nicely. I {

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Sub Focus
ver the past couple of years,Sub Focus, A}(A Nick Douwma, has becomeone of the most widely respectedproducersin the drum 'n basswodd, and his production stylehas spawned countless inferiorimitations. Sincehis breaKhrough IrackX-Roy, with its infectiouslead synthand crunchy guitarrifis, electric Sub Focus' music has gone from strengthto strength, with tunessuch as Frozen Solidand,most recently, Druggyrockingdance floors aroundthe world. As well as his own material, Nickhas also turnedout sometastyremixes, including reworks for

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fellowDnBproducers Baronand Fresh, and a coupleof KoolKeith-related pieces: the massive Ultramagnetic Mcs-samplingSmockMy BitchUp by The Prodigy and Dr Octagon's sinister Aliens, His debutalbumwill drop on Ramlaterthis year. We trackedSub Focus downto his Holloway studio where he revealed the secretsof svnthesis. DnB-style...

The sound starts out as a simple saw wave in Native Instruments Massive. The first port of call is the panel, Voicing wherethe numberof Unisonvoicesis increased to 3, and the unison pitch Spread is turned uo to createa nice thick timbre. > I


'l This rich synthtone is then passedthrough Massive's DoubleNotchfilter,the cutoff levelof a b which is modulatedvia an LFO to givethe sound some movement. The sound then passesthrough Massive's band-pass filter,which is modulatedvia the Performancetool, which allowsfor more comolicated modulationthan a simple LFOor envelope.>>

This patch uses a litfle portamento, or glide,so that the patch'spitch slides smoothlyfrom one note to t the nod. Thisgivesthe soundthat organic, snaking qualitythat's often heard in drum 'n' bass.Massive's Glide controlsare locatedin the Osc oanel. > I {

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To roughenup the sound a little,one of lvlassive's Th" patch can be made nastierstill by adding Different flavourscan be had by adjustingthe f distortioneffects,c rube, is used with a relativelv F anotiier oscittator. Here,lvtassrve s second ;;;rt;i;, \ ;ili#;;nts. LowerAmp vatues n I low DryArvet settingand a reasonablv high Drive ;;;;r;r;"d;i#'; r, been set to the scrap resurt and | e v e | . T h e P S h a p e r i n s e r t e f f e c t i s a | s o u s e d t o a d d s o m e Y a r d w a V e t a b | e f r o ' i t n " o i g i t u t o s c i | l a t o r s e | e c t tf ion'T h i s ein f f ress e c t .moduration Adjusting t thus havea subtrer grit' this time with a near 50/50 Drylwet level' > sound can be fine-tuneduslngthe wt-position knob, tame a sound - turning up the band-pass fitter Bandwidth which pans throughScrapYard's wavesnapes. > createsa much nastiertimbre. I ll'l'

030| C0MPUTER MUSIC August 2007

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Sub-bass shouldbe mono,and hereNickusesa singlesine oscillatorto providethe kind of solid pure-bass tone so often I has a useful modulationmatrix,and used in DnB.Z3TA+ Nick uses it to varythe pitch of the oscillatorusing one of the Z3TA+'5 differentcurvesoffer differentlevels envelopegenerators. of modulation deDth.> I rl



Likethe previouspatch,this sound beginswith a 3-voice detunedunison saw.This instantlycreatesa typical ravey lead sound,but there are a couple of tweaksthat can be used to make it more interestingHere,Niekadds lvlassive's built-indelayeffect,which make the patch sound less plain. >> I


Massive's voicingmodes can be used to subtlyalter the way tne sound plays.Forthis patch the Voicing mode is sel t b to Monostateand the Triggermode Legato Triller. In this mode the modulationsourcesdon't reset unlessall notes have been released, so it's idealfor widdly lead parts. >)


By using more extremepitch modulation, a sound similarto a svnthesized kick drum can be created.Thisfast high-tolow pitch movementat the start of the note givesthe qualitythat helps sound a much more punchy,percussive Rangeand Curve controls emphasiseeach note'saftack Z3TA+'S can be used to finetune this. >>

One of Massive's filters is set to high-pass, with the Cutoff frequencymodulatedby one of the LFOs. Fora techier sound,a notch filter can be used insteadof the high-pass. t In addition,the Frequency Shifterinserteffect givesmovementto the sound.Settingthe Pitch controlto 12 o'clockworks well for this,with a Drylwet balanceslightlyunder halfway. {


works well for makingthe sub The soft distortionin Z3TA+

Also,try routing { more definedand addingsubtle harmonics. filter bus and distorting squarewavesthroughthe high-pass Y filter.This adds them togetherwith the sine wave on a low-pass buzzto the top end of the sub for a Dillinjatype sound.Some lead or filteringat the low end. or Reesesounds might requireEQing

MUSIC August 2007C0MPUTER | 031

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famiriar Byrd isaname tocomputer ,,USING ff anny -: :roke his uptmins ol.."r""r t rrlr down
I I Music readers,havingbeen featured in Mostercloss.Backthen, lJ cm111's Producer '


his -'oer the Seo,but this time we'veenlisted new fromthe parts to createsomething :alents by our otherfour producers. Creating a created is an trackout of partsmade by otherproducers unusual task,but the Danis neverone to shy away from a challenge. "l usually spendquitea lot of time working on my own arrangements, but managed to put this in abouttwo to threehours. lt was a tracktogether not having really refreshing experience to start from scratchand working withthe completely lt also highlighted in my own Chase & Statusbeats. workthat I don'talways haveto use a million breaks all goingon at onceto makea nice different beat.All the different drum editsandlhe sonic quality of the beatswereinstantinspiration for the



patches track.TheSub Focus werealso really easyto workwith as I came up withvariousriffs patchesinto and partsquickly. Tofit the logistics this track at first provedprettydifficult,becauseI already had a basspart,but I managed to get around switch. this by makinga completebassline "l'vegot to saythat usingelements fromfour producers in one tune does makeit slightly harder to makethe wholethinggel,but it all came together nicelyin the end."

Danny startsby putting an atmospheric stringchord from Logic'sES2synthoverthe beats.This createsa I vibethat can be builton.Thispatchhas plentyof movementthanks to some rhythmicLFO filter cutoff modulation. A highstringis then overlaid, addingextra sheento the sound. > I


At the stan of the track,the Chase& Statusbeat is t nign-pass filteredusing Logic'sFuzz-Wah, which takes ) Ir awaythe beerylow end but keepsthe rushyhighs.To buildthe vibe up, a cm vocalacappella is added,pitched up to be in the same key as the rest of the track.This has also has been filteredand delayed.>>

An explosionsound effectslatheredin delay is used to mark the start of the track - sounds like this are reallyusefulfor adding impact to the start of new J sections. As the unfilteredbeats come in, the Sub Focus This playsa reasonably raveysaw-leadriff is introduced. overthe top. ) simple riff that Dannyimprovises <


Tospiceup the beats. some percussion is added courtesy of Stylus RMX. A simplecongapatternir I used,whichis processed with Stylus' internal valve amp sim and reverb. This makesfor a differentsound and helps fit the part in with the beat and feel of the track. >) t !J

Withthe vibefirmlyestablished. it's on to the meat of F fl the track the bassline. Danny bringsup Sub Focus' patchin Massive Reese and playsit untilhe comes J up with a suitableriff.The end point of each note has to be accuratebecausethe patch is so rhythmic. The riff needsto be kept tight. >

a sub-bass is As well as the big,tearingReese, F needed to supplythoseall imponantlow fl llJ frequencies. Againthe ES2is calledin,this time to providea sine-based sub patch,which followsthe Reese paft, complementing its low end nicely- and no high-pass filteringis required.>)

032| COMPUTER MUSIC August 2007

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In orderto make a track Djjriendly,the drop should occur on a multipleof 32 bars.This track has a brief f intro and drops on bar 33. To build up to the drop, J two sounds - a risingsynthand a noise-based, wind-style effect - are used.Thesehave been bounced out of Reasonand pitched up to create a big wooshingeflect. * t

As well as the risingsound effects.a kick drum 1 ,i5 build-upcourtesyof Chase& Statushelps create llr, tension,and the first note of the saw-leadriff is repeated to add emphasis. All theseelements work together to buildthe track up to the all-imponant drop. >>

aFl Dannythinksthe drop doesn'thaveenoughimpact. so to give it e]itraedge the Reeseplaysfor a couple [j of t:ars beforethe beat kicks back in. Afterthe bie J build-up, this will catchthe listener unawares, hammering them with an onslaughtof beats and bass. >)

interesting, the tune changesafter each 16-barsection. Thisallowsfor the eners/ levelto be tamed slightlyso that it can be built up againfor the next section. ))

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A little drum edit is used 16 bars after the drop



To that effect,the Reeseis replacedwith the saw

Chase and the moreshuffly I I leadfor this section, JrrL & Statusbeatsare used.This chaneesthe feel ot the trach and the mysterious of the intro is atmosphere broughtback slightlyas the vocal sample is reintroduced. Thebuild-up soundsare usedagainto raiseanticipation ahead of the next section. >

wobblebass,bouncedout of Nowthe Logistics t is broughtin, playinga call-and-answer Reason, | ) IIriff with the Sub FocusReese. This is followedby a less freneticoutro,wherejust the sub-bassis used and the strings are reintroduced. In a fulFlength trackthis could be the section beforea second breakdown. i

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f | | Atmospherics: The moody E r_J stringand pad arrangement setsthe tone for the wholetrack, with high-passed beatsand delayed vocalsaddingrhythm. eeat drcps: As the beats kick lill r-_f away,the saw-leadriff is introduced and various soundeffects are usedto increase the tensionand senseof anticiDation.

up: A typicalbig drum flleullo U,I'n'base kickdrum rolland repeated lead stab build up to the inevitable drop.

T llThe drcp: Beforethe beats ljrl rr_Nand basskick in together, the Sub FocusReeseplayson its own for a coupleof bars, teasing the listener.

Drumfill: Danny uses a chopped andrearranged version of theChase & Status beat as fillto keep a drum things rolling.

builo: Berore rne Elnnour"r llltrack switches up to the second bassline, the drumrollsand sound effects arereintrcduced to build tension again.


Second bassllne: The

losistics hassline is USedto

playa call-and-answer riffwith the giving Sub Focus Reese, a much different feel to the first groove.


Roll ouk As the trackwinds

the synths arestripped *=!J down, back andjustthesub-bass is used.

cl*[ delayed expIosion sound effectand a snippet of vocal leave the listener in no doubtthat things are all wrappedup.

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034 | CoMPUTER MUSIC August 2007

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Unleash the furv with the TwistedMetalsamole collection. guitars,ragingdrumsanh buildozer featuringscreaming biss!

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BFDvia Rewirein Cubase4 We?eusingFXpansion's for our drums.Selecta tight hFhatwith plentyof high{requency content,and a shallowsnarewith a snappytang.We use the DW Hihat I and Ayotte Snare 1, low end. )> the percussive The Ayotte Kick.l provides I I

Ourtrack beginswith eighth-note hFhats, a snareon i We *",y beat and a kick drum on everyoff-beat. ) h alternatethe velocityof the hi-hatparts betweenhigh and low to accentthe hits on the beat,and varythe velocityslightlybetweeneach hit for the humantouch. >>

hi-hatsbut the snare becomes { the same eighth-note less frequent,occurringon the second and founh t, beats.The kick drum occurs only threetimes in eight bars, placingemphasison the snare and hi-hats. >>

The drum patternsimplifiesfor the verse.We use


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The kick drum comes back for the chorus,set off by snareson the beat and a simplefill at the end of a I 16-barloop.We play a crash cymbalon the eighth and iust beforethe 16th bars of the loop.A hi-hatflurryis the snarefill. > added in the bar that orecedes , !J

fne end of the chorus has anotherrhythmicchange, F We switch the kick drum patternto four-to-the-floor. I The hi-hatsmaintaintheir eighth patternfor three J beats of everybar,but we busy up the pan on the fourth. Forinterest, we throw in the odd snare roll and tom hit. >

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Our track featuresthree guitar parts,We create an 2' The first part I audio track and call up AmpliTube rhythmguitar - consistssolelyof chords.We select I the Maxedvol Bssmn preset,which givesa lush,clean soundthat breaksup nicelywhen we bash the strings. > I

We give movementto the sound by using a A to the Stomp screenin stompboxeffect.Switching /t we select Phazerl0 from the Modulation AmpliTube, Ir menu.We opt for the first Intensity model and set the one third. >) Speed Control to approximately

-l Forthe second guitar part we call up another We set the Preamp and EQ { inttun"" of AmpliTube. rJ fvtodelto TubeVintageCombo,the Amp Model to SingleEndedCl.A and the Speaker Model to 1x8 Combo smoothtone' > for a deliciously

^a We add a Phazerlo stomp box selectthe third tntensity settingand keep the Speed very slow' Zl, -I ttren we add an Overdrlvestomp to crunch up the tone. We set the Levelcontrol low the Distotion at three ouartersand the Tone at a little over half. >

Thethird guitar is a doubletrackingof the second' F Usingthe AmericanTubeClean 1 Preamp and EQ h 616 Amp Model and 4x10open rJ Modets,50W Filterfor sonic motion' VintageCab,we add an Envelope Resonanceand Depth are set at'ten past" > Frequency,

2007 August MUSIC 040 | C0MPUTER

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To emulateStingsbassguitartone we'reusinglK AmpegS\X We choosethe Rock I Multimedia's BA-500 ll preset,which givesa roundedtone with good high-mid detail. We max out all of the EQcontrols and roll backthe Treblecontrol a touchto mellowthe tone slightly.>


we add In the stompbox sectionof the plug-in just the chorus pedal.Applying 1l an analogue b smallest amountof chorus, we set the Levelto halflilay, the Chorus amountto barelypast the 'off mark and leavethe Vibrato Rate and Depth controlsin their defaultoositions.> '|l

the bassguitar lt's usually essential to compress givesthe sound extra punch This in any track outt { in dynamicpower and levelsout the differences J We use a between the thinnerand thickerstrings. to applya gentle SV-315 mono compressor Sonalksis setting of -14.1d8. > Ratioof 2.3:1at a Threshold -l

We also applyEQto the basspan,as the low end weiehtof the instrumentis obscuringthe sound of I tne kick drum in the mix We makea reasonably This createssufficient tight Q {3.1)cut of -74d8 at 135H2. to both holdtheir sonicsoaceto enablethe two sounds groundand be heardclearly in the mix >) I !ll,

Finally we makeanotherEQcut,this time to solve tne problemof the low mids gettingin the way of \ Again, we makea the low end of our snaresound. J cut, this time of -9.8dBat 1565H2and with a Q setting of 3.6. >

That's the bassseento - nowfor our Sting-esque F Thereare two parts.The first is the lead and vocals. ll We use a Low is pitchedhighfor most of the song, u Shelf EQto roll off some of the low-endfrequency componentof the part.This helps create space in the low > midsfor the kick drum and bass,aidingseparation.

The secondvocal is the backup.providing the harmonies. Again, we use a low Shelf Filterto f f removesome of the lowerfrequency components, but we're removing more low-midthan with the lead vocal paft.Thebackupvocalcan soundthinner thanthe lead. >> t

to givethe vocal parts an etherealqualitywe lFl Finally. lf route both vocal tracks to a Grouptrack, into which lV we inserta RoomworksSE reverb. This savesus havingto use two reverbplug-ins. We set the ReverbTime to 1.33sand the Mix Amountto 16%.

MUSIC August 2007C0MPUTER | 041

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lArE 50S - SKA The late 50s gavebirthto ska of music. Inspired by a fusion formsof blackmusic, the several jazz, ska sound incorporates rh),thm and blues, calypso and Popular with Caribbean mento. in rudeboys, modsand skinheads in the 60s,ska had a big revival the early 80s.

IATE 605 - REGGAE in lamaicain the late originating with 60s, reggaeis synonymous With the Rastafarian movement. rootsin African and Caribbean music, the trademark of the genre guitarparts. is its syncopated Reggae oftenencompasses other iormsof lamaican music, including rccksteadv skaand dub.

for the channels We mix the insideand outsidemicrophone I kick drum to producea weightytone with a touch of beater SV-315 we applycompression usinga Sonalksis rL click Next, compressorset at a Ratio ol 2.5:1 and a Thresholdof -11.6d8. >) This givesthe soundthe extra punch that it requires. !

We EQthe snare usinga low shelffilter to roll off the Next,we use a bit f 16dBat 66Hz). low-endfrequencies /, b an SV-315 comoressor{Ratioof 2.5:1and Thrcshold of -12.0d8) to givethe sound more snap.As a final touch,we add SE plug-in.>) reverbusingthe RoomWorks tl

1974 - PUNKROCK of Themusical embodiment attitude, angstand polilicaloutcry punk was playedhardand fast. Tracks were shon and lyricswere striking, as werethe accompanying of fashions and the subculture rebellion. Punkrock, along withska and reggae, helped to shape the soundof The Police.

to be The hFhatsin PolicetracK are often engineered verytrebly.We begin by rollingoff a fair bit of the lower end Then of the frequencycontent usinga low shelf EQat 118H2. we boost from the high mids upwardsusing a high shelf EQat 3321H2.>)

We compressthe vocal parts using anotherSonalksis We don't want to squishall of the compressor. SV-S1S so we go easywith a I dynamicsout of the performance Ratio of 3.1:1 and a Thresholdsettingof -10.9d8. >) a !1,

A simple guitar solo occurs under the latter part of each F chorus.This is too prominentin the mix when left at the 1 volume settingthat befitsthe rest of the song.We use t automationto duck the volume a few dB duringthese sections. >)

T-RackS to masterthe track We We use lK Multimedia's to and a touchof limiting applygentlecompression enhancethe coherencyof the individualparts.The plug-i so our mix models high-endanaloguemasteringhardware, benefitsfrom the inherentwarmth that imparts.

Perfect Vocals
to wantit. Andyou have to fall fromthe sky.Youhave Perfection doesn't legendary Melodyne's we've takencareof, making knowhow.Theknow-how W r .i t h technolog ay v a i l a b ln eo wa s a p l u g - i nt,o o ,f o r y o u rs e q u e n c e , o i rc a nc o n t r ow ni , ming, l i t he x a c t i i u d te h ei n t o n a t i ot M e l o d y np el u g i ny nearer. recordings. wasnever of yourvocal So perfection volume and sound t o w a n tr t . 0 r s i m p l etro a t t a i n N . o wy o uj u s th a v e plugin. Thetooltor perfect audio tracks. In tune.0n time.Melodyne

It4elodynp eluBrn for VST, RTAS and A u di o Un i t s ; W i n d o w sX P a n d Mac OS X.



you're ake 87. lt s gonemidnight, tiredand you're seriously stafting to regret asking I I your mateoverto 'laysomeguitardown' He keepsplaying the same on yourlatestproject. infuriating bluesrock licksyou'resureyou've youruncleplayin his dodrypub band. heard lt's you happy not making and youjustwanthim to packup and go home. Perhaps it's not your matewho'sassumed the guitarduties- maybeit'syou who'splaying and you do soundsright; you just can'tget nothing the guitarto makethe soundyou want,or you to pull off the riffyou can hear in lackthe virtuosity your head.Or it mightbe that you don't play, but just spentthreehoursauditioning you've boring guitarloops. yourchosenguitarmethod, Whatever it sucks. It can be difficult for the computermusician to see howthe guitarcan be usedto breaknew sonic f 2007 MUSIC August 044 | C0MPUTER

^ '+^r' f ^ ^ r n r ] - a ^ ' n ' - ^ ' ' ^Ij'5 Thi nk \ o / p 1 l n u u L u l v v d y 5 L UL l u d L U ^ I luvv )uul -l l \ " _//

asweshow guitaf Prepare to besurpnsed wrthyour agatn.. instrument you need ano[her whyyou ttnever

ground. Howon eafthdo you take such a relatively primitive new an interesting instrument and create soundwith it?All the easyoptionshavebeen flanger and delay covered manytimesover:chorus, frankly. Fortunately, with a little are old news, there's imagination to experiment, and a willingness no end to whatyou can achieve armedwithjust yourcomputer and a guitar.

over the nextfew pageswe'llshowyou some to the soundof the freshwaysto makechanges guitar, trackout of the results. and builda complete signalWe'llshowyou how to take standard processing We'llalso toolsand usethem creatively. how to put every soundthe guitar demonstrate moreto a guitarthan makesto good use (there's just strings, you know)and we'll highlight some earpitchmanipulation thatwe'resureno one bending will haveshownyou before.

No strings attached
it with our walkthroughs, finished By the time you've you're as a feelinguninspired won't matterwhether player, your loopsare dull,or your mate keeps - you'll be able riffs outtiredold dad-rock churning generally twistand reverse, to chop,change, that mangleguitarpaftsuntilyou get something reallymakesyou wantto pushthe fader up.

guitar now music extreme I make

We want the intro to our Extrcme Guitor piece to stand out so insteadof a standarddrum intlo,we 'bass * crcate our own kit usingthe guitar.To get the drum',we rccordthe loweststringson the guitar choked out. We also recod the body of the guitar being hit with a fisl which givesus the bassftequencywe need. > I I

Nextwe place a capo on the eighthfrct of the guitar and pull the stringsaway lo lightlymute the strlngs, /, h fiom the guitar so that they snap back down onto This becomesthe basisfor our snaredrum. the fretboard. We want a higherelementto it too, though,so we rcpeat the processwlth the capo placed higher. >> '|l

Forour hi-hat sound,we strum the stringsbehind the nut. To isolatethe ftequencieswe want,we mute all other parts of the guitarthat might ring uslng... J a pair of socks!Hey,sometimesthe low-techsolutions,lust work better. >> I (

^a We listento each part, makinga note of the hits.We then selectthe sampleswe !1, best-sounding I like fiom each take,top and tail them, and bulld our grooveby placingeach hit wherewe want it in the bar. >>

As you might expect we're not instantlypleasedwith I ll the sounds,so we're goingto add some signal processing the two'bassdrum'parts We comprcss J at a Ratio of 8:1 and applya phaserto the bassierpart to make the sound throb. >

'snare and create Nextwe add a stereodelayto the F into which hi-hats, and an FXchannelfor the snare |ll PadyGuftarSouthem lJ we insertAmbiencereverb's oset and a slow phasersweep.All that rcmainsis to balancethe parts and automatea fadejn for the intrc.

MUSIC 2007CoMPUTER August | 045

makemusic nowI eu:'?i:-e sui:Ai



PlG6t Pluq-ins Hltpoint!


Gain Merge Clipboard MIDI - Over QuanUze Media Trilspot show Info Pilch shift Remove DC OfF ei Resample Noire Gate

Tl", section of our.tunestarts with some sharp tt1,!t"T uY9idit soundinglike standardro9.k fare' l9 we re golngto apply some reversereverb'We record guitarsand then reverse double-tracked them something that'schild'splayinanyDAW > I I r

-l We use cubase'sRoomworksreverbon the reversed We set the Time to 1.5msand check the level Euitar. / b meter to make sure the reverbtail ends beforethe next chord starts.We bouncethe track down to make the reverbpartoftheaudiofil) e> .

We Teverse the reversal' to turn the audio the right way roundand then re-atign the part with the original (wnicnwe also re-reverse). J The reverbnow leads into the chord stabs.We leavethe originatpart in to givea sharpedgetothestabs. {


It's a backwards world wetre in,,.

Although ourwalldhrough uses reverse reverb, there are lots of other parts thingsyou can do with reversed and effects. guitaris a Reversed or backwards goodway of throwing your listenera - instead part curveball of a 'normal' theyget an awkward, ear-grabbing sound. Usedsparingly this is a powerful tool.Somegreatexamples of this arethe solosections in Giye lt Awoyby the RedHot ChiliPeppers. Gonearethe dayswhenthiswas a trickachieved byflipping overthe (remember cassette those?) in your four-track {remember that?). This once-laborious task is nowjust a mouse clickaway. lf you're recording a solo,remember guitarwill playthe that the reversed lastpartfirstand viceversa. lf you wantyourreversed soloto climax properly, start with freneticphrasesand gradually become morerestrained. lf you wantthe notesto stay in the same placebut playbackreversed, chopthe audiointoseparate notesand then reverse them. Themainthingis to let your imagination runwild- experiment with all the effects(delay good)in is always yourplug-in folderand see if you can yourownnewsounds. discover
Fo'mit Finse AsBele'erceTrack {,\Saveeadk :,1 .=-f ckasa figtefitc !T.ack4 lT'ack !r,ack6 5 [Trftk7 lT,ack s Rete'ensTrdck LEtsd6uiar_27 -wl Channels: aAtt I'acks: ELEadGurd_27 ETra.k 2 !Tr6ck3

While it's possibleto programa MlDl part that doublesas a euitar parL it's hard to get the exact phrasingthat a guitarist would have,so we'regoingto converta lead guitar part to MlDl.We recorda lead part and import it into lvlelodyne, then use Melodyne's SaveAudio to MlDl function. >) I


We import the MlDlfile into Cubase.Next,we call up the excellentZebraclvlsynthfound on the cm coverdisc ) Ir and, after a little experimentation, call up the JeEt. fat bass preset(yeah, we know,but it soundsgreat- honest!)>)


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^ The Chifis' cfassic Blood Sugdr Sex Msglk sports a tew backwardsguitar parts

We sync the MlDlfile up to the originalaudio part and ooen the key editor.sometimesMelodynereadspitches in f Y the wrongoctave,so we manuallyconect these notes. lvlelodyne also picks up ol, extrastring noisesand convertsthem to lvllDl, so we removethose too. >>


so we move ,lI We decide to make the MlDl part a harmony, the notes up a third. Becauseof the natureof scales,some A I notes sound wrongand need to be corrected. While a litile you can just alter the notes until musictheory is an advantage, they sound correct.

046 | C0MPUTER MUSIC August 2007

glriar now extrnrrir lmakemusic

q. Forthe nextsectionof our tune,we'regoingto texture. We want almostunlistenable { createa dense. r& a smoothleadsoundfor this,so we call up soundand lay 2, dial in the ModernHi-Gain AmpliTube down the first.track. ):

*81 We then duplicate this part ninetimes!We use the ,gf sametone and pay carefulattentionto the doubling are &* of the parts, makingsureall the note lengths identical. Because of the soundwe'regoingfor we don't to the part,so eveMhingis add any littlebendsor vibrato keDtfairlvflat. .r)

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tm speaking. nineof the ten partsare,strictly Because F out of's not a good ideato pan thingstoo \ Youcould pan the at leastnot separately. widely, J whole loice' to one speakeror anotherfor effect,but the partsshouldstill be tightlybunched.>)

and mean lotsof squeaks inevitably Lotsof guitars & r{, stringnoisecreeping into our takes,so we tidy ad them up by removing the noise betweennotes. but it'sworththe Thissort ot thingcan feel laborious, and won'tcloudthe final effort, as the partssoundcleaner mix with noise. /)

We Pitchshift each This is wherethings get noisy. guitar in ten cent increments{Guitar 2 10 cents, whichgivesa set of Guitar 3 20 centsand so on), guitarpartsequally lt's not out acrossa semitone. spread for an sound,but if you'relooking the mostear-pleasing this is it. > uglytextureto drop in somewhere,

dde We want to smooth out the roughedgesof our collectionof cacophonousguitars,so we call up u frx (k# .orpr"r.o, on eachguitartrackat a 3:1 ratio. a grouptrack we could put them all through Alternatively, with a singlecompressoron it. >>

To finish off our odd little cocKail. we visit the very presetlist and find the Fx f, boftom of RoomWorks' that Thisis an uglysetting J Distrrbances setting. phrases a spikyreverb tail in the gapsbetween leaves >> we're looking for. what Just q

This isn't the sort of part we'regoingto want to tl we reallywant the ten tracks readjust. constanllY fi We spenda bit of time as one voice. u to function them and then getting between balance an'internal' bouncethem down to a stereotrack This also keeps our CPUloaddown.

MUSIC August 2007C0MPUTER | 047

guitar makemusic nowI extreme

Onceagainwe call on the amazing AmpliTube 2 to deliverthe goods.We'vedecidedto givethe Hi-Gain settinga rest and are goingfor Brltish Tube Lead 1 instead.We boost the Gain a little. >> ! I

-l Nextwe createan FXchannel.Youcould do this as an inseft effect,but we'vegot somethingspecial in a b mind.We call up a stereodelay,set the left channel to repeatat l/4-notes and the right channelto repeatat 1/2. Most importantly, we set the Mix to 100%Wet so we can only hear the affectednotes. >>


Now we send the guitarto the FXchanneland

{ selectthe Pre-fadeoption.This meansthat if we Y change the levelof the guitarchannel, the same amount of signalwill still be sent to the FXchannel. >)

Nextwe need to bouncejust the sound of the a.luvel notesto an audio file. Eitherthe FXchannel I can be set as the output for the bounce,or the track can be soloed and the originalguitar channelturned down (not muted).lt doesn'tmatter which way you do it, but we oot for the latter.>> t ft

Whenwe import the bouncedstereofiles back in to F Cubasewe split the channels,so that left and right I -, arc on separatetracks.This is becauseMelodyne, which we'll use next,can only deal with singlenotes.We duplicatethe parts and ADTArtificial DoubleTrack) them by movingthe copies back 10ms. )>


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We load up our Melodyneplug-infor the first pair F of 'delaVonly' parts and import the audio into the ll ty program.Oncethis is done we selectthe Tone/Scaleoptlon in Melodyneand selectthe key of D minor.When we shift the melody up a third (threeletter names)the notes stay in the conect key. >)

We also load up Melodynewith the second and third set of 'delayonly parts.Thistime we shift t J the notes uo a fifth and an octave.Notice how the slides in the originalpart are also shifted- this adds to the wild sound. > t

We unmute all the parts to hear what we'vecreated! The final resultis a lead paft with stereo repeats that are now harmonised(in three pafts,no lesslto give a totallycrazysound.Checkout ExtremeFinal.wavon the disc to hear our finishedsong incorporating all the techniouesand tricks we'vecoveredin this article.

04s I C0MPUTER MUSIC August 2007

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Bass notation
howVou canusea bassline asweexplain Discover the bass-lcs rhythm to your compositlons... andharmony to addessential
and will often be createdintuitively will tend to guidethe ear by stressing ofthe bar or measure, the beginning and will also mostlyfeaturethe root ol the prevailing chord.So,if you'reever in any doubtas to how to beginto playing around find your bassnotes, with the root of the currentchord or scaleis the obvious olaceto stan. Basspartscan be as simpleas Almost everypiece of Westernmusic you'll have listenedto will have had a repeatedroot,usuallyfeaturinga rhythmthat complementsthe drum of some soft,whether a bassline pattern,but these can be easily it's rock,pop,danceor classical. a few more mightbe unaccompanied expandedto incorporate Exceptions performances, chord notes.Fig 1 showsthis process vocal or instrumental pieces. in action,with a root-onlyrhythm or purelypercussive followedby a similarlinethat uses has a dual function, The bassline - emphasising the notes of a Cm7 chord.Listento beingboth rhythmic - and piece this month'sMlDlfile to hear how the metreof the with the drum looo. theseinteract beingthe lowestvoice harmonic, In genres Thisis fine for a harmonically in the chord progression. you'relikely with static piece,but you might want to be'concerned (probably to movethe chordsaround.Fig 2 not classical!) the bassline oming towardsthe end of our series on basic scales and chords,we're going to complementour intrcductionto the bass clef by brieflyconsidering some of the basic considerations in crcating a bassline. FILES TUTORIAT Loadup the EasyGulde115. mid file in the TutorialFiles folderfor a demonstration
^ Fig 1: Thls easy bass rhldrm uses the notes of a Cm7 chod

Backto the roots

^ Fig 2: Thls rcck-stylerhythm lollm

a simple prcgcssion, addlng melody

a basslinefor a simple illustrates progression we looked at last issue:a bar each of C,G,F and G.The bass, hitsthe herein a simplerockstyle, root of each chord right on the fi6t subsequently beatof the change, The fillingin with mainlychordnotes.

basscan be thoughtof as a simple kind of melodyand can soundmore from one root elegantif it progresses with a to anotheras a melodymight, Again,take a degreeof smoothness. listento the MlDlfile for a realisation cm of this passage.

MUSIC August 2007C0MPUTER | 051


lr rrronthr nnonf dance muSiC'S hottestproperties, Breakfastaz the award-winning

reveal theirproduction tips, andvideo... tricks andtechnicues in ourexclusive tutorial

for remixing manyof their breaks including scenepeers, Deekline and Wizard, The Freestylers and Aquasky. shotto breaks superstardom Othercareerhighlights include withrcleases on suchimportant recording a trulyinsanemini-mix for labels undeground as Passenger, AnnieMac'sRadio1 show (youcan MobandfuainstTheGrain. Their checkit out on their Myspacepageat formula crowd-pleasing dancefloor, from hasgarnered support the and winning the title of Best biggest DJs, including Plump Breakthrough scene's Act at the Breakspoll DJs, Krafty Kuts andTayo, as wellas World Breakbeat Awards2005. theabomination thatis Zane Lowe. The lads are also very busy Aswellas making theirown outsideof the breaks scene,and are tracks, thetriohave been responsible currently working on a fofthcoming ver the past few years Me4 Gavand Froe,also known as The Breakfastaz. have showbizprojectthat high-profile ComputerMusicwas swornto secrecyover.To hear about it, keep your eye on The Breakfastaz website (www.thebreakfastaz,com). recently launched their Having label, The Breakfast own independent took time out Club, The BreaKastaz to show us fromtheir busyschedule London around their olushsouth-west them studio. in whichwe oersuaded work to show us roundtheircurrent in progress, a remixof BlackCanvas's cm non-breaks trackBobylon...

TUTORIAL VIDEO Toviewthis issue's tutorial just stickthe cm DVD videos, in yourdriveand eitherselect Videofrom the interface or locatethe Vldeo directory you'll manually. Here find the Producer Masterclass video (Macusersmayneedthe player, free VLC available at

vusrc I cotueurrn

producer now music masterclass lmake

The track starts off with kick and snare drum I samples.Theseare routedthrougha buss and which Sonic Destructor, clippedwith rc Electronic's the beats.A clap sample is distortsand compresses placed overthe top of the snareand routedthroughthe same helpsto use good samplesfrom the off. >> I

The single-hitdrums are joined by some breaks, 1l whicn are sentto anotherbuss so thattheir level b Sonic Destructor can be changedindependently. and a sidechain is used on some ofthe breakchannels, bythe kick and snare buss is used compressortriggered to duck the volume of the breakswhen each hit plays. >> al

Thefirst elementfrom the originalBlack Canvas track to be used is a trumpet lick sliced up and playedback throughNativeInstruments GuitarRig presetsis a good way to quicklycome up with Tweaking sound,and herethe Dlrty Slap Bass preset an interesting has been used to add some grit to the horn riff. >>

Thoughmany producersbegintheir tracks with The BreaKastaz start with the tn core elemehts, ll I introduction, buildingup a soundscapebefore gettingto the meat of the tune.This givessome inspiration as to how the rest of the track should sound.To that end, varioussound effectsare used duringthe intro. >> a

F The swidingtechy pad at the start is actuallya fl staccatosingle-note synth riff that's been run This low-pass througha delay,then an auto-filter. r, filtersthe sound and pans it aroundand, as it's been placed after the delayeffect bringsthe sound togetherso that the delaysare less obvious. >

Anothersynthsample with unsubtlepitchbending F TapeDelay is added nelt, runningthroughLogic's Ii 19 plug-in. The severepitchbendmakesthe synth A delayedsplashybrasshit sound like it's been scratched. punctuatesthe start of the section,and the second time it plays,it's pitchbentdown.

with a lot of impact on Dynamictrack progression ttre orop is an importantpart of The Breakfastaz' I sound,and a big breakdownand build-uphelp the vocal frcm the original crcatethat. In the breakdown, track is broughtin, which has been run though Logic's pitch corectorto give lt a modem,electrcnlcfeel. >> I I

The tull verslonof the trumpet from the original track is used here,routedthroughChannelEQand ) h TapeDelayeffects.Synthsmimickingthe chords of The first is Cakewalks the trumoet are also introduced. Raptureplalng a's quite 'messy, but it giveswarmth to the trumpet part. >>


adds some 'll EVB3, Logic'sHammond83 emulation, ( tasty,tulFbodiedoan vibes to the mix This is also J run throughGuitarRig and the EQsettingstake a little of the top end off.A GuitarRigwash effect is also used to filter the sound,and the cutoff point is modulated to gve it a pleasingmovementand dynamictimbre.

MUSIC 2007C0MPUTER August | 053

masterclass nowlprndricer music make

a basslinecomes throughthe breakdown, Halfway EXS24 I in.Thisis simplya sinewavein Logic's * samoler with distortionfrom Sonic Destructot's of classicdub, bitcrusheieffect.The sound is reminiscent and vari6useffectsin the track havealso been createdby distortingsine tones. >> rl Whenthe beat drops it's prettymuch the same as i duringthe intro,but with the additionot a small ) The sub L open hi-hatsample and a shufflegroove. sine wave patch bass comes courtesyof an ARP2600 to the kick Trilog]/. This is sidechained from Spectrasonics so that it ducks out when the kick plays. > To beef up the bass,a simple saw patch is used. will use an EQplug-into roll the BreaKastaz Often, low end of a sound'which is important J off the really becauseit stops any roguebottom frequenciesinterfering with the drum parts.Thistechniqueis also used on the brassstab and some of the effectsin the intro. I {

More sound effectsare added when the beats and synthblipsand camera-esque I bassdrop,including to the casual Thesemay not be noticeable * sounds. but they add to the feel.A snippet of the vocal listener, heavilydelayed,is playedoverthe from the breakdown, top of the drop,which keepsthe feel consistent.> i

Anotherbass riff comes from a sample nabbedfrom synth bass played lquas!. This is a round-sounding ) and decay with the sustain the Exs24, L backthrough turned down.The releaseis turned up so that the sound with short notes,and the Sonic can be playedefiectively once again.)> is applied Destructor

of the main A drumfill is createdusingelements < beat that havebeen bounceddown to audio.The clap. rJ snare has been replacedwith a big, reverby and glitchybits have been createdby quicklyreplaying beats are samplestaken from the bouncedbeat. Reversed used,too, and these enhancethe fluidityof the drum fill. -l

A reversereverbetfect is made by feedingthe start reverb I of the vocal though a two- to three-second I with the dry levelturneddown,and bouncingthe it to resultdown to anotheraudio track beforereversing createa suckingeffect. >


The next part from the originaltrackto be used is ^ is used and a fair amountof chopping a rapvocal, ) Ir to make it sit with the up-tempodance beats.The the other vocal is playedon two channels:one straight, EQto give it a lo-fi quality. >> with a "telephone-style'

q is used to take some of the Logic'sDe-esser ( sibilanceout of the vocals,and the Sonic Destructor rJ called uo to reducethe bit rate.The vocal runs througha shon tape delayeffect,and finally,the low-end EQplug-in. is rolledoff with a SonalksisSV-517

2007 August MUSIC 054| CoMPUTER

producer music now masterclass lmake

The chorus is the part of the track with the most that will fit soundsplaying at once,and anything I from the intro or breakdowngoes inl A new lead is added - a Trilo$/saw with a touch of releaserun through This isn't reverbed, but the releaseon the some distortion. patch givesit a reverb-y feel. >) I I

At the end of the chorus, an electro-style sub i Oass appearsbriefly. This is a simple sine wave in 1l L EXS24 that's pitched down by tyingthe sampler's modulation envelope to the pitch. Thissoundsits under and helps signiry the kick beforethe second breakdown, the end of that sectionof the track. >

put any TheBreaKastaz Whenbuilding the chorus, unusedsectionsafter it, in case they want to use them later.Thesesound prettygood when played t so this becomesanotherpart of the track. back together, The high string part comes from an Apple Loop,and the glitchydrum beat returnsto providesome rhythm. {

a pitch-modulated Beforethe second breakdown, lead from the EXS24is used to providesome extra I energr.This was createdby runninga sine wave with througha Logicclip distortionand a Sonic Destructor, to the kick for that the whole lot sidechained TBKl filter is used to tame feel.A Sonalksis extra-pumping the sound slightlyat the end of the effect chain. >> i I

the MoreRapture synthsoundscomplement i bassline.fheseare pitched down at the end of /, trippier L this sectionin anticipation of the second, breakdown, which usesthe same riff as the chorus,played at halfspeed. Whenthe tune dropsagain, the riffreturns to normal speed,givinga sense of pace. >)

for inclusion on an As this trackis a remixintended album,the structureof it is a little differentto that of track. Forinstance.ratherthan a typicalBreaKastaz J just rollingout with a Dljriendly outro,as you'd expect,the chorus remixwill most likelyend on another unfinished minutesin total. four-and-a-half and will lastfor around {


MUSIC 2007COMPUTER August | 055

TUTORIAL FILES weve got the raw recordings of our piano,as well as the and patches editedsamples HALlon and for Steinbery:s our own DS-404samplers

-. I
nce upon a time, the piano was king From the livingroomto the concerthall,it was the of of choicefor generations instrument Today it remains a vitalelementof musicians. modernmusic,and thanksto the powerof your you can captureits verysoul on software sampler, your harddrive. we'llshowyou how In this tutorial, usingthe methods to samplethis loftyinstrument by the pros. employed Whatdo Takea lookaroundyour livingroom. you see?Chances arethat the W is the centrepiece you the magazine of yourspace.Or,considering perhaps the ubiquitous nowholdin yourhands, personal computeris the focal point?Not so very givenoverto thesemodern longago,the position to the wouldhavebeenallocated conveniences ivories. Thefamilypianowas a sourceof and oftena child'sveryfirstexposure entertainment to the worldof makingmusic. Morethan that,the pianohas beenand remains character and nuance. of unmatched an instrument its versatility of the synthesizer, Untilthe invention in the early18th With its introduction was unrivalled. weregivenan and pedormers century, composers not to mentionnew tonal range, unprecedented of expression, thanksto the adventof velocity levels The pianowas Thatlast bit is important. sensitivity. because it could knownas the pianoforte originally softlyand loudly. be played to imagine today, but back It seemsimpossible then the pianowas viewedwith the samesort of and,yes, that synthesizers, samplers scepticism faced when they were evensoftwareinstruments Luddites aside, the piano Liszt{oathing introduced. instrument of the modernera. becamethe oremier infiltrated Fewmusicalsoundshaveso thoroughly crossing from one genre the publicconsciousness, to The Beatles, the to the next.FromBeethoven pianobecame, for a longtime,omnipresent. August 2007 MUSIC 056 | C0MPUTER



how? knew butnever your intoa piano computer Aiways liked theideaof turning
- here's the ivories... guide yourcomplete to sampling Noneedto throwan Elton
riseand fall,and Timeschangeand economies the pianofell victimto the needsof eventually Thethings artists. and staruing touringperformers Never werejust too damnedbig to haul around. to buy and mind the fact that theywereexpeirsive the familypianohas Thesedays, costlyto maintain. and its reign longsincegonethe way of the victrola, in favourof overthe concertstagehas diminished portable, recreations. sample-based who wantthe soundof the pianowithoutthe about of course, We'respeaking, hassle, though. with come re-loaded ManyROMplers samplers. will be only and sampleproviders sampledpianos, sampled too happyto sellyou their meticulously arefine,btl Suchsolutions for big bucks. Baldwins you will of coursebe usingthe exactsamesound Pianos, like as otherusersof the same product. personalities. guitars, Additionally, haveindividual you'llhaveno controloverthe way in whichthe was recorded. instrument Maybeit's about time you took mattersinto yourown hands... cm

precision Portable
lf you're one of thoseluckypeoplewho have piano, then you knowthat accessto an acoustic the instrument can be extraordinarily tuning, Pianos needregular temperamental. is not and evenwith that done precision alwaysexamplary. for thoseof us There's an obvious solution

power piano music now lmake

theof Joanna Capturing

you pony up the o, we're not suggesting greento buy an actual piano.Youprobably alreadyhave accessto one anyway. You could booksometime at a localstudiothat has - it'll likelybe well maintained. one in-house you could beg a couplehoursfrom a Alternatively, rehearsal studioor schoolthat offerspianolessons. Perhaps there's an old upright at your localpub,or a spinetin yourgran'sbasement. All you needis a mic,yourcomputer and a few hoursalonewith the Theoiano. old dear. that is...

Fit for kit

gainedaccessto yoursubject, Onceyou've recording it requires very little in the way of gear. You'll obviously needsomething to recordit onto, a MiniDisc and that could be your computer, recorder, a portableDAT recorderor any other devicethat will get yoursounddown with a minimumof fuss. You'll also needa microohone or two.The choiceof what sortto use will deoendon the tryingto achieve. Manyengineers soundyou're prefer modelswhen recording smalFdiaphragm pianos. Thisis the wayto go if you wantto highfrequencies so that your pianocan emphasise be heardthrougha clutteredmix Otherspreferthe full,clearsoundof a good large-diaphragm condenser. The latteris bestif you haveonlylimited as you'llwantthe most accessto the instrument, possible. representation accurate, uncoloured You

^The type of micrcphoneyou use to capture your sample ls up to you - some engineerslike large diaphragms,others prefer small

can alwaystweak it to taste later. Microphones aren'tmuch goodwithout preamps. A good preampcan bringout the best in preamp will a mediocre mic,whilea mediocre compromise the signalof eventhe mostsuperior microphone. Keepin mind that you can always rent decent stufffor a few hours if need be, thoughyou shouldn't hesitate to record with budgetequipment if that'sall you have. At the veryleastyoursounds will havea distinctcharacter that belongs onlyto you,which is always of course. to be encouraged,

The dirty work

Right, on to the walKhroughs. We'regoingto take you through everystepof the recording and editing processes, the end resultbeinga pianosampler patchto be proudof.Obviously you'llneedsome - Audacity is audiorecording and editing software excellent if you're on a tight budget, thoughfor you'llbe bestserved intensive by a sample-editing

^ Recordlngon a budget?Look no turther than Audacity

professional editorsuch as Wavelabor Sound useful Foe.Editors such as theseare especially with such sample-specific tasksas when dealing pitchdatafor use in yoursampler. embedding will dependon your Howmuch datayou record needs. The moreyou haveto workwith,the more yourfinal product will be.Youprobably realistic don'tneedto sampleeverysinglenote at multiple velocities, but that'sup to's betterto have too muchto workwith than too little. accessto a piano, lf you don'thaveimmediate you can workwiththe pre-recorded audiofiles The resultswon't we'vesuppliedon the cover DVD. be as uniqueas if you'dtrackedyourown,but you'll instrument when wind up with a greatsounding you're finished nonetheless. yourown instruments can be bothfun Sampling and there are few betterwaysto and rewarding, on yourtracksthan to stampyour own identity buildyourveryown piano.Let'sdo it...

piano sounds difierent so findingthe best mic Every positionis often a case of trial and error.You'llhave * to use your ears to find the sweet spots - you'd be surprisedat how many novicerecordists think there'sa 'rightway to mic somethingup. Here,we're usingtwo mics to capturethe widest range possible.> ! I

tl Unlessyou'rein a pro studio,chancesare you're goingto haveto take precautionsagainstoutside // L noise.Eventhe quietestcomputermight make a din that'll drownout the subtletiesof your piano.Unlessyou want to recordsome of the room acoustics, throw a blanketoverthe piano to isolatethe mics. >>

availableaccessories Youcan also use commercially like the one shown here to help preventleakage from the outsideworld. Notethat these tools will Onceyou'veset up only work with cardioidmicrophones. your mics, recorda few test tracks to see if you like what you hear.lf not,try movingthe mics around.

MUsIc| 057 2007C0MPUTER August





positions, foundthe best microphone Onceyou've Openyouraudio it'stime to get downto business. of choiceand createan audiotrackfor recorder in whichwe've We'reusingCubase, eachmic youre using. eachto one of the two monotracksand assigned created on a stereotrack,since Were not recording microphones. control. we want individual

Youdon'twantany peaks, carefully. Setyour levels your Adlust but neither do you wantweak signals. whack. preamplevels and givemiddleC a mighty lt not,attendto your pre and Do you havea goodsignal? try a with yourlevels, Whenyou feel comfortable try again. a good recording coupleof otherkeysto ensure

and take yourplace Arm yourtracksfor recording We'reusinga remotedevice behindthe piano. (Frontier to engage our Tranzpott) Design's awesome the bench.Startfrom withoutleaving recording software playing the bottomand workyourway up the keyboard. loud and makingsurethat each notedies out naturally yourfinger. We trackeveryC and F:. beforelifting



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of everynote havea good recording WhenycLr p ayedloud.saveyoLrr work and createanother the same notesat low trackor tracksto captLrre Y o um a yh a v e t o a d j u s t h e g a i no n t h e p r e a m p veloc ties. i.rnless yoLt're with a goodplayer to get a good recordlng. one oLtd anclone soft set shouldbe fine. lotsof controL,

a Create some pedalaction. Finally, let'sintroduce the same noteswhile newtrack or tracksand record holcling downthe damperpedal(fora complete Youmay not wantto see p59). of the pedals, description allowyou to switch botherwith this if yoursamplerdoesn't pedaldata. N4lDl when it receives samoles

with all trackedall the notesyou need, Whenyou've you mightwantto normalise the of the variations, be Thisisn'tcrucialas you'llprobably recordings. lateron. Nevertheless samples the individual normalising Normalprocess. to do so, usingCubase's we'veelected finished, saveyourwork. Whenyou're

it's microphones, as we have, lf you've used multiple We'regoingto expon now time to makea decision. for funhereditingin a dedicated our recordings but we needto decidewhichof our mics audioeditor, them for the bestof we'llbe using, or if we'llcombine them side by side. both.Soloeach in turn and compare

for a fuller together We decideto mix both signals to positioned each microphone We originally sound. Onemic was aimed note range. capture a specific the the othertowards the low rangeol strings, towards upperrange, lf you followour lead,be sureto checkthe not cancelling phaseof the signals to be surethat they're eachotherout.

to trackin we neverintended As we said before. is the onl) The player stereoso don'tpan the tracks. Besides, unless person who hearsa pianoin stereo. you'resampling each and everynote,it'll soundunnatural Geta balancebetween when mappedto yoursampler. yourtvvomics and export the entiretrackto your hard for the othertracks. the Drocess Reoeat drive.

MUSIC Auqust 2007 058| CoMPUTER

:,i t,;i!.:.. 1makemusicnow


r',\ Let'sget down to the businessof editingand ! preparingour samples.We'll stan with the recording clx of the loud,undampednotes,which we savedas PianoHard,wav. lf you weren'table to track your own piano, you can find ours on yourcoverdisc. lmportthe file We'reusingWavelab, whichhas intoyoureditorof choice. specific to sampling >) cenainniceties

'tY* Start by selectingthe first note in the recording; this piano. Copythat noteinto its #, istne lowestC on our S.e own windowand zoomin on the beginning. Youcan plainly see that there's a lot of signalbefore the sound reallykicks in. some of that will be the movementsof the player, somewill be dead air and somewill be the hammermechanism. ))

i,'t:, Selectall of the blank space beforethe piano's you don't want to hear. d attack,and deletethe stuff ..rtr Whileits niceto havethe addedrealism of the we don'twantto delay hammermechanism in our sample, the attack for too long,or our final patch won't feel right Useyour judgement when we play it from a lvllDlkeyboard. bit out. and cliDthe extraneous

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-ll Now,zoomback out and take a look at the end of 41{, our sample.There'squite a bit of dead air after the : notefadesaway. We wantto cut that out.too. Be carefulnot to cut into the decayof the note,unlessof you planto loop it for the sakeof conserving course 'remory.We'vedecidedto keep our sample'stail intact for :he sakeof realism.>)

editorsuch as Wavelabor 3r lf you'reusinga high-end *r? SoundForge, you can saveyourselfa little work by q# embedding file. the note'srootpitch into the sample Manysamplers recognise this information and will assign you can find this the sampleto the properkey.In Wavelab, information in the Samplingmenu underthe name SamplingAttributes.EnterC0 as the Key. ...

you saveit, you might yoursample. Before Sxt Normalise ffi want to check its tuning and adjustfor any iL* discrepancies. pianosare Even well-maintained tunedas our modernelectronic seldomas precisely it instruments. Youcan correctit in youreditoror fine-tune Nameyoursampleand saveit. in the samplerlater. Repeatthis processfor all the notes you'verecorded.

MUSIC August 2007CoMPUTER | 059

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Here,we'vedraggedthe PianoHardsamplesinto the pitch embedded Sincewe previously I Hnrion. assigns automatically HALion I data into the samples, them to the right keys.Now we just haveto set their - checkthem against and ditchthe one another ranges onesthat don'twork > I

their files. Adjust Now,bringin all of yourPianoSoft t rangesto match the louder samples.Set the velocity ) L rangesso that the Pianosoft samplesare triggered are whilethe Pianoloudsamples onlyat low velocities, triggeredat highervelocities.>)

we madewith if you wantto usethe samples Finally. t the damperpedal,imponthem and map them note ranges.Onlyuse these d acrosstheir respective for MlDl-controlled if yoursamplerallows samples suppoftsthis, so we've switchingbetweensamples.HALion broughtsaid samplesinto it. t

Conservation Act
probably you're appreciating By now, the in capturing involved the labour of an andvariations character as the as comPlicated instrument piano. the keysand Whensampling and Pedal in velocity variations amass positions, you couldconceivably Notonlyis such of samples. hundreds it to manage, tedious a vastcollection chewsup a lot of diskspace. in many Yetthe pianopatches occupyno more ROMplers software Thisis than a few megabytes. possible to intelligent thanks the most measures, memory-saving looPing. of whichis samPle common the entirelength of recording Instead decay, of a notealongwith its natural portion of the soundis the sustained with andthe decayrecreated looped enveloPe. the sampler's is no meanfeat, a piano Looping to takethis Path, and if you choose you maywantto lookintodedicated suchas Antares' software looping (MacOS9onlyl) or ZeroX's lnfinity (Windows). Looper Seamless




tr$ S r"iffi
rl OK.we haveour samplesloadedup and mappedacross is samples At the momentour set of sustained I the kevs. * beingtriggeredalongwith eveMhingelse,but we'll attend to First,we need to adjust the amplitudeenvelope that momentarily. in our samolerto enable more realisticplay.Extendthe release a note. 22 time untilit soundslikethe realthingwhenyou release Sincewe sampledso many keys,some of them will naturall! n Youcan use your sounda bit differentfrom one another. ) filterto smooththingsout a bit. lf you like'you fr samoler's can evenemploythe filter envelopeto add a little punch to the you could add a little velocity attack of the sound.Furthermore, to the filter for a bit of added expression.)) sensitivity



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^ Savingdrive space by looping the sustained sections of your piano samples isn't easy,but Zercxs SeamlessLoopercan help

if yoursampler Nowit'stime to set up our pedalcontrol, on the lvlegaTrig this is handled allows for it. In HALion, page.lvlegaTriggering allows us to set up conditionsfor the and samples We can selectour sustained of samples. triggering to only triggerthem if a use the Play lf command to tell HALion note is triggeredand the pedal is on. >

donethat,we needto set up our Pianoloudand Having Pianosoft samplesto only be triggeredif a note is played and the Dedalis off.At this point you should havea pretty convincingpatch to call your own.We needn'ttell you that the stuffyou have learnedhere can also be appliedto other instrumentsas well! , ZI-T

2007 August MUSIC 050 | C0MPUTER

nowlsound synthesis make music

Throw sorne shapes

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

o0zI coveurrR MUsIc August 2007

sound synthesis music now lmake

TUTORIAL FILES patchesto Scot'sFXP accompany the walKhrough are in the TutorialFilesfolder
> IARMONICS No, not the thingsthat blues musicians blow through,All soundsconsist of a fundamentalfrequencyplus frequencies that are multiolesof that fundamentalharmonics, The listenerusuallydoesn't interprctthese frequencies as separate notes,but as part of the overalltimbre. Frequencies that arcn't integermultiplesof the fundamentalare 'inharmonic'. something like it to generate the sounds in their popular CZ series in the 80s and it's also the method used by many distortion processors. A different sort of waveshaping, one found in ceftain synthesizers, > WAVETABLI Not to be confusedwith waveshapers, a wavetablesynthesizer is one that draws upon a selectionof digitallystored samplesto power its oscillators. RoMplersare a simpleform of wavetable synthesizer. Somewavetableinstruments enablethe user to scan throughthe memoryusinga modulationsource.The PPG2.Vand ConcreteFx's Kubik are two such synthesizers that havethis ability, > PHASI DISTIiRTi,-]trl,sliri i'ilISIS Phasedistonion synthesis was brought to market by Casioin's closely relatedto FM synthesis and makes use of waveshaping techniques. Modern musiciansmay recognise this form of synthesis from JeffMcClintock's SynthEdit oscillators. Essentially, the idea is that new waveformscan be producedby manipulating the angleof phasewhile playingback a simple sine wave.

subtractive synthesizer or usingone sinewaveto modulate another in an FMinstrument, we'reshaping waves in a verydirectway. Yetthe term 'waveshaping' is used to describespecificprocesses. The most commonly heardis one in whichan inputsignalis shapedwith a nonJinear distortion function. That's prettyheadystuff.Sufficeto say,the resultof this orocessis often a waveformwith lots of harmonicand inharmonic content, which makesit goodfodderfor filtering. Casioused

enables users to draw waveforms

usingthe mouse. Suchinstruments allowdirectaccessto the harmonics producedby the oscillators. Let'stake a look at makinguse of both methods withfree plug-ins. cm

Ever feel that your meticulously sampleddrur6 are lacklngthat specialsomething? In the early da! of dlgitaldrum machlneslt was common to run a beatboxthrough a dislortion pedal fur some mild saturation. Youcan achieve the same plug-ln. son of thlng with a waveshaping


CRUDETUBES Manytube slmulaton'pluglns a just a mix of waveshaping and qualisation. Youcan cludge togethera facsimileof a classlctube amp with a 'em waveshaper and an EQ. Strap acpss, say,a vocaltrack and dial in your own Mntage warmth.

ilEXT HONTH: Fixed filter banks

August 2007C0MPUTER MUSIC | 063

electrontca nowlmelodic music make

TUTORIAL FILES The audio files referredto in the walKhroughsare in the Tutorial Files folder along with our finishedtrack


your tunes to sptn forways Orareyoustuck lackin melody? ditties Doyour digitat guide hasgotthetotcovered... Our in-depth masterpieces? rntoelectronica

Most is useless. he wordelectronica to thinkit means Americans stillseem

and some musicjoumalistseven breakbeat, to use the labelfor indiebandswho ,, thinkit's clever might havea synth playerloiteringat the back oi.::'

go intoyourDAW somesounds. andcrcate someof thetechnical thmugh take:yoq

melodic to createan original piece,and giveyou some suggestions for soundsyou might's importantto use your that the ethoshereis crucial: emohasise powersonlyonceyour melodies are in production place.Be pioneering withyoursoundselection you'll haveto be if you want to keep up with the ftr mastersof the genre- but don't get too bogged down with such things. is experimentation stage, the tlveaking During electronic artistsall sharea love both of innovative techniques and oftunes that will stayin your head, key:try to look at your effects,routingand synthsin can helpto try doingthingsa a different so we'regoingto take a leaf out of their book and soundsources choosing too, perhaps way different createour own melodic masterpiece. When creatinga melody,its often best to leave you might not have used before. Ourtune - I WonderWhot l'll Do Todoy behindfor a while.ll you havea the technolory (Computer play MusicMix)- is includedin full on the your and sit there in house, keyboard suitable lf you likeany of DVD so you can hearthe results. don'tchangeit on the most basicsoundyou have: you out how we find it, can from the sounds too at all. lf you get caught up with knob-tvviddling pages, and you few the next over your goal. them achieved you'll get A from distracted earlyon, just a puremusicalinstrument shouldappropriate them for yourown nefarious pianois evenbetter: purposes. doesn'thurtwhen A bit of bonowing that will enableyou to come up with sometunes. you're . cm tryingto get a tune across.. When you?ehappywith what you'vedone, it's time

Asa genre it'stoo big encompassitlg{ thestage.

Gristleto eveMhingfrom Throbbing Theterm melodic electronica howeverclear-cut,



it'll help to stop


fanstuming up to breakcore
laptopggs and then beingdisappointed becausethere'sno bass,poor things.

Name that tune

proponents of this genre the ultimate We suppose are Plaid,with albums like RestProofClockwork but there are plentyof other and DoubleFlgure, to the world's tune who are contributing artists quotient. from could extend Melodicelectronica noodlersAir to the plaintive, French coffee-table to texturesof Arovane, mournfulpiano-and-synths These of Canada. warblings of Boards the elusive 2007 MUSIC August 066 | C0MPUTER

melodic electronica music now lmake

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To create some simple electronicabells.we set up a synth playinga sine wave and assigna MlDl controller to the Decay parameterof the amplitude envelope. This enablesus to createa sound that morohs from short and percussive to long and bell-like.> t I Nextwe'll add some effects- we've used 1 compression to keep eveMhingat an even level, / b tube distortionand two Erosionplug-ins to add some grime,a shelvingEQto get rid of the bass,and a filter to trim out some unwantedhigh content. >> Finally, we'll sweepthe frequency aroundon one of the Erosionplug-insto add some can be worth copyingand pastinginteresting envelope J shapesto create more abrupt effects,but we're goingto stick with this uo/down motion,as it suits the track { r||l

Melodtc tactics
melodic is Creating dynamic sounds vital:in the examples on this page we'veusedautomation of synthand effectsparameters to givethingsa bit the components of a of life.Changing so soundis whatkeepsit interesting, lookfor waysin whichyou can alter goingon. what's is to varyyour one suggestion analogue and digital: changes between gradually fadingin will sound an effect from a spot effectthat's verydifferent suddenly dropped in to the mix:tryto usea combination of bothtechnioues in yourtrack. yourmelody Giving a good,regular rhythmis one wayto ensure catchiness, but takea listen to some melodies of the crazier out there(we recommend Ep,eby Royksopp) and you'lldiscover that as longas you provide you can enough repetition, baseyoursequence on the most pattern rhythmic imaginable. bonkers in pitch-bends, squeaks and Putting artefacts can,in somecases, enhance factor. the catchiness Consider the waysomeclassic trancetracks use chordsto convey faintly their melodies: Art of Trance's pompousModogoscor, for example, is chordmotif basedarounda repeated rather than a single-note tune.Thisis a basically dueto the factthatthere's leadmelody in there, whichhasjust beenharmonised with other notes played the samesound. Tryusingmodular synths, such V as the KorgMS20, MoogModular wherealtering a single or Tassman, parameter can change the entire using a bit of nature of the sound: randomness is always a goodidea. Keepin mindat all timesthatyou're attempting to tell a storyand convey withthis kindof track, a melody rather than shockyouraudience as youwouldwiththe moreviolent formsof electronica!

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Padsplayan importantpart in melodic electronicaaiii ifs greatto use effectson them to spice them up. Here,we've staned off with a nice,airy-sounding Albino preset,with not too much reverbon it. >)

Next,we add a SimpleDelayand set this to 100%Wet, with i aTime of 61.1mson the left channel and 1.O0ms on the Jb right.This adds a sense of stereospreadby puttingthe left and right channelsout of phase. >>

- i






Nextwe add a GrainDelayplug-inand manuallyrecord

ensuringthat we turn down the Dry/Wet { some automation, ratio from its slightlydaft defaultposition.As Live'sinteface d allows us to changetwo parameters at once,we'veopted for Pitch and Frequency.>

]Jl Well use a differentmethodto bring only the Flequency 1(|, param"t"r.back down you can see the straightline on I the automationin the screenshot. This kind of subtle changemattersin this genre,creatinga very differenttexturefrom 'hand-drawn automation'.

August 2007C0MPUTER MUSIC | 067

electronica nowI melndic makemusic

Addingvocals is a greatway to get more melodyinto {http://ccmixter'ord, I your track We visitedCCMi)der rL whereyou can find vocals licensedunder Creative Often,as in the case of the vocalswe'veused Commons. you'refiee to use the samplesfor It Wonderby.Narvag), any purposeas long as you creditthe originalartist. >) I

The first thlng to do once we'vegot our vocals is t *um them so that thqy'rein time wlth the track ) tempos are listed on ccMlxtei so this isn't L Luckily, too had. lf you'rc havingprcblems,you can alwayschop the vocals up into syllablesand do thingsthat walt thls can also be useful for c|ating wdd effects. >>

at the sametempo,it'stime to Nowthat eveMhing's start makingthings more interestingWe do some 'stutterediting on the vocal by repeating Bt-style J some gaps.lf you do short sectionsof it and introducing this prior to addingeffects,the effectscan help smooth out the roughtransitions.>> {






plug-in somecrunchy to introduce a We add a Redux A Reductionsettingof 6 combined bit-reduction. !J I with a Downsamplesettingof 4 is fairlyextreme. up the vocals makesthem sound quirky,and Roughing that makes us happy. >)

Here,we're loopinga longersectionof vocal for a F effect.As well as sustalned-note Proiseyou-type h soundinggood,this kind of edit can be used to J rearange the vocal,as we can come out of the sustained note at any point. >>

Addinga spot delay,as we havehere,is anotherway of givinga bit of melodic lift to our vocal. it highlights the fact that most of the J lnterestingly, dry:this is often a greatway of allowing vocal is relatively your vocalistto carrya strongtune.Toooften,electronic music producersswampvocalswith delay - don't do itl >

ofvocal and play why not graba section Finally, n 80s effect your own tune on it? lt's an incredibly l( (tninf Mel and Kim...actually, on secondthoughtr u in some extra don't),but it's a greatway of squeezing and playawayto your samplea syllable Simply melody. heart'scontent.

2007 August MUSIC 068 | CoMPUTER

music now melodic electronica lmake


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Althoughmelodic electronicaisn't renowned for its { bass (it'sprimarilymade by people t booty-shaking * who would ratherdrink tea and intellectualise you do need some than get 'crunked', we reckon), low-endwobble in there.Here'sa nice warm sub-bass with lots of comoression.>

rl We layerthat up with a strangeburpingsawtooth Lotsot filter automationis the way foMard. As long the felowerendof 1 l n a s s u s i n g t w o d i f f e r e n t A u t o F i l t e r s , s o m e E r o s i o n ( a s w e r e m e m b e r t o s h e l v e otfh plug-insand a Saturator. h bass so that it doesn'tintefere with the sub, we can We'vegone for a slightly J do prettymuch what we like.Tryto accompanyspecific iaunty rhythmas well,which suits the genre. >) noteswith specificfilter-sweeps. '|l

Supporting acts
It'sveryeasyfor this kindof trackto cenainly become incredibly busy(ours so it couldbe worthstripping has!), thingsdownagainif youfeelthe mix is too cluttered. Creating becoming parts, supporting like bass interesting will helpthe mixto feelfull and drums, is sparse, so evenif the arrangement is important if building strong sounds that'swhatyou'regoingfor. mix, lf youwanta greatsounding go for chunkiness: you'llneeda first, goodkick/bass relationship. Choose a basspatchthat reallyleapsout at you yourspeakers moveand makes get excitedwhenthe someengineers patchsends firstblastof an auditioned the meterintothe red!Youcan then tameit a littleand slot it in around your kick:it's always easierto remove than add themfor this freouencies kindof sound. to useshelving EQto Remember in makespacefor the otherelements yourmix BToncecommented that the first pieceof advicehe wouldgiveto would be to everynoviceproducer out of chopthe lowfrequencies except the kickand bass. everything Finally, be sureto get rid of those 7.5-8kHz, and nasty hightonesaround that have try notto pickpad sounds to nasalquality too muchringing, them:yourmix can onlystandso muchhigh-mid. keeping keyelements of Consider and panning the mix in the centre effectsand othersoundsfairlyhard left staple, and right. Thisis a rockmixing widebasis but it willgiveyou a good, for a happy stereo image. Youneedto decidehow prominently is the vocalor leadmelody goingto figurein the track.We'vesat oursbacka littlebit,as we weregoing for a 'todured'feel, but if wantto build mixthen by all moreof a song-based means do so.Youmaywantyour melodic electronica trackto havemore of a laid backfeel,in whichcasewe a slowertempo,fewer suggest a littleswingin elements and maybe the rhythm.


Evenmelodictracks need a rhythmsection.We'reusing an


We'rekeepingthings relatively simplewith the snare by

with individual channels for each I lmpulsedrum machine * drum sound:a basic anay of kich hats and snarc are samples.This accompaniedby a couple of e)drapercussion style of music tends to opt for isolatedtechno-style drums rather than breakbeats.>

and a short, 1f usinga noise sample,then some compression b tight reverb. The only complexthing here is an Erosion plug-inwith some automationattachedto make the snarefeel like it has some movementto it. >)



i l


a The kick is somewhatsimilarto the snare.Althoughit to put dynamicefiects on it, adding { seems counter-intuitive can create some interesting J touches of high frequencies melodies. Youcould try usinga Resonator or similar plug-infor moreof this... >)

,ll ...which is exactlywhat we'll do with this drum loop.A dose of Reduxand some stereosprcad helps it sit in the mix fl, I We'vealso tried panningsome other layereddrum hits,so that when the snare hits therc's a snaresample panned hard right plalng simultaneously.

MUSIC August 2007COMPUTER | 069

electrnntca music nowlmelndic make

to get lt's impoftantto structureyour track effectively the most out of all your parts.We'rekickingours ofi I with a vocalintrocombined with the bell soundwe open for the bass made.This leavesthe lowerfrequencies and drumsto kick in at bar 9. >) I


sectionand our At bar 1Z we drop in an arpeggiated A secondary drum loop to pick up the pace. The arp is ) just a V-statlon prst with some EQto separate it L out, a touch of Reduf and some Simple Delayfor stereo spread,to put it at the extreme right and left of the mix >>

the kick drum We make a simple fill by removing back in with a { a bar,and then bringingeverything Using fills at the end of each sectionis a snare. d greatway of keepingeveMhing movingalong The leveld you use in them is entirelyup to you. >> complexity t

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so we use an olgan a An extramelodyis needed, filter and give it ton". filter it off with a high-pass tl, f some stereospread.This is combinedwith a simple squarewave sound.Adding 8-bit-style arpeggiated and extra sectionsbreaksup a tracK > counter-melodies

We Afteranother'chorus' it's time for a breakdown F strip everything out and use the pad sound we made \ earlierto create space with a few ambient chords. J Bringingin the bass and a small drum loop after this creates morc weight to lead into the final section.

MUSIC August 2007 070 | C0MPUTER

make music nowlexperimentalism

rachMiel hasbeen freaking outabout something recently. going In fact,he's tota\ hyper forlayers. Read onto findoutwhytheyexcite himso...
- voice solotrack or piano, for - chances example areyou'll be working withseveral layers of the panning same material withdifferent equalisation andeffects to increase the richness of thesound. For songs witha standard arrangement of padsandFX, you drums, bass, lead, might easily endupwitha dozen or morelayers to process andmix Hyperlayering is the art of using a significantly larger number of layers to make songs; nota dozen, but20,30, 50 or evenmore. You canusethese extra layers to addcomplexity and subtle variation to thefouror five mainlayers of yourpiece: a ten-part groove melody, 20-part drone, 25-part andso on.Oryoucould takea more unconventional approach andusethe layers to addnewmaterial to the piece. Forexample, instead of a single melody divided up intoten parts ten overlapping variants of the same - youcouldhave melody, so to speak ten different overlapping melodies in

the piece.Or five different

MP3sdemonstrating each example are,as ever,in the TutorlalFllesfolder

grooves, overlapping eachperhaps running in its owntimesignature

(polymeter): 214,3/4,414, 5/4 and 6/4, all of whichwouldmeet up tggethereveryl2O bars tor a commondownbeat.

Theformer approach, overlapping variants of the samelayer, is called heterophony, Wikipedia, Toquote heterophony is "onebasic melody realised simultaneously bymultiple

be polyphonic. Whenpolyphonic layersare strongly independent, they makefor a complex, denseand possibly piece; chaotic-sounding imagine 20 peoplesinging 20 differentsongsat the same time. Polyphonic layerscan also be interdependent intertwining and dovetailing to contributeto a sense of unified whole- Renaissance chora piecesoften work just like this,voices


voices, eachof whichplaythe melody in a different rhythm or tempo, with andfigures, different embellishments or idiomatically different". Thiscan padsandso FX, alsoapply to groove, as a on.You canthinkof heterophony that complex chorus effect, something varies andthickens the original layer in musically compelling and ways. unpredictable Thelafter approach, adding new layers thatarenotmere variants of existing layers, is calledpolyphony. is "a Wikipedia sayspolyphony texture consisting of two or more independent melodic voices.' Again, pads, grcoves, FXandso on canalso

singing different melodic lines thatall blend together as oneto generate an N-part fibermelody. Oneof thegreat draws of plays Shakespeare is theirpolyphon youcanappreciate of meaning; them fortheirlanguage, wit crass humour plotlines, poetry, psychological political character studies, commentary andphilosophical musings. There's something there for everyone andsomething newto pick up on at every viewing Polyphonic hyperlayering canalsobe likethislayers of musical so many meaning yields thatthe piece newdepthevery timeyoulisten to it. cm

072 | COMPUTER MUSIC August 2007

now experimentalism I makemusic

is to My first step in creatingan exampleof hyperlayering establisha groove. lt's a dovetailing of sevenelements, I some quite familiar-sounding and {kickdrums,bass,guitar), Tle elementsenter one al the others ratherabstractand strange. a time and build up to the full grooveover a period of about one minute (Groove-intro.mp3). > I I

gloove In the second half of the piece I bringthe seven-part t by doublingeach part for a into the realm of hyperlayering /, The doublesare all b total of 14 layers(Hyper-groove,mp3l. reversed audio.I also varythe entrancetimes of these parts to to the add an elementof rhythmicinterestand unpredictability groove mix >>

NextI added a drone{ish) layerto the piece (Drone.mp3). lt { consistsof two tracks,each containingfive ovedapsof the J same minute{ongaudio clip.The secondtrack is, once again,reversed audio.Mixingforwardand reversed versionsof the same audio and panningthem left and right often producesa variantof the original. >> complex interesting t

'melody'hyperlayer. The Now l'll move on to the toreground trombone-ish is abstract, standalone main layer a short ll The sound I solo I wrote a year or so ago {Melody.mp3), and drone,so I decided:why not? mixedwell with the hypeEroove one's own musical As far as I'm concerned, cannibalising creationsis a perfectlyfine way to work >> a

Totransformthe solo melody into a hypermelody, I create F variantsof it, pan them in two forwardand two reverse \ pairs,and mix {llyper-melody.mp3). Becausethe original J has so many holes in it lsilences) betweenphrases, the mix has a rathereffectivesense of breathingeventhough it comprises four layers. >>

a Finally, I can't resistaddingsome icing to the hypercake: audiol mix of another two{ayer (forward/reverse piece {bottomtwo tracks},an extreme self-cannibalised Put it vocaf coverof JuanTizol'swunderbarCarovonNocal.mp3). all together{asshown aboveland you'vegot this ratherodd little 23{ayer piece:tlypedayeringmp3.

MUSIC 2007C0MPUTER | 073


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lf you have time, pleasecompletethe following.. What computer do you use?

Whlch feature did you most enloy in tfils lssue ot Muslc? Compatter Which feature dld you least enloy In thls issue of ComputerMusld! INSTIWTSURVEY Ho\,v much fie sofrrvarcdo you use?

Daytimenumber Emailaddress

usefreeware O I never o I useonlyfreeware jobs o I use many freeplug-ins, o Only for non-serious DAW but I usea commercial

MUSIC 2007CoMPUTER August | 075

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keyboard controller MlDlmaster with61 keys.

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Krtshna Synth 082

Isthelong-awaited synth machine? trulya divine

hYPe much gear, how nomatter tt. surrounds orexpectation


flawed I-4 cive it a miss.AseriousLy product beavotded thatshould p'ooLci I|s dnOK 5-6 Hottoo shabby. faults butnotwrthout worth considering DefiniteLy Good. 7 and 8-9 very good.Awell-conceived Recommended executed Product. faultless 10 fxcellent, practicaLly


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'.'aekie's sinsle-screen DAW . broup'ht unto date

086 Ohmicide: Melohman

latest Force's Ohm oromises murder onthedancefloor

imprcss us A oroducthasto Awadedtooroduclsthat challengeeiistingideasand withitstunctionalityand one fealurestowinthis new do somathingentkely


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VUSIC 2007C0MPUTER August I Oer


#ffiWKNH MACffitrNH

Krishna Synthffi
thattts you enhghtenment theaural Will Devine Machrne newsynth bring s hot! antrcipated
n-mn e' 'nnaere" or we couldlust tell you I r d rr c ) u 6 5 c ) L ) 1 Wecould think aboutit in silentcontemplatron
PC: Plll lGHz.512MBRAI\4. Windows VSf 2.0-comDatible host 98SE/Me/2000/XP, G4 1.25GHz Mae Powerlvac or IntelCPu, host 512lVBMl\4,0S X,VSf 2.o-compatible

t seems not so longagothat we weregrousing aboutthe dearth of newmethods of

synthesis. Surrounded by ROMplers and viftual analoguesynths, we were desoeratefor that breathof freshair. Ourpleas,it wouldseem,havebeen answeredin spades.The past few months haveseen a wealth of synths releasedthat shed the shacklesof the commonplace in favourof more challenging and,most importantly, more inspiringinstruments. We have to confessthat, while we definitely love our retrosynths,we're always pleased when a developer deignsto designsomething that has no hardware, er,analogue.

PiCr Athlon3200+,512N48 MN4, XPHome,Sonar6 Mac: 2.16GHz Intel Core2 Duo iMac, lGB RAN4, 0S X 10,3.9, Cubase 4 MONII{LY PAYMENT PI-ANS 12 months, 19/month 6 months, 35/month

Krishna Synthis Devine Machine's Whileit isn't such an instrument. it presents whollywithout precedent, (if ideasin an inviting some unfamiliar packagethat'll not entirelyintuitive) soundsyou're haveyou designing else. to hearanywhere unlikely KrishnaSynthis a cross-platform formats with AU and RTAS VSI plug-in, on the way.Thoughit isn't strictlya ROMoler. it comeswith 3GBof data in the shaoeof well overa thousand presets, so lots of room on your hard drive is a must.

with whicha sampleor soundmay be convertedto a seriesof many 'Frames'. are SaidFrames individual then storedas KrishnaMovieFiles, which can be playedback using Frame 1 - the so-called Oscillator sourcecan A modulation oscillator. to be appliedto the playback 'animate'the proceedings. Thisis resynthesis or even unlikegranular wavetablescanning,but PPG-styled on a deeperlevel.

withmore comes Krishna Synth

than 2000 Moviefiles coveringa but the realpower rangeof sounds, becomes of the instrument yourown samples. when importing Anysoundis fair game,though

AUDIO DEMOS You'll find a lead,a vocalpad pattern and an arpeggiated in Audlo Demos from Krishna

Getthe picture?
The soul of KrishnaSynthlies in its (or FAT.), Technologt FrameAnalysis

MuslcAugust 2007 oazI coveureR

Krishna on your platform depending about seemsa bit particular Synth wherethat soundshouldbe located. 4 on our Mac when We frozeCubase Whenwe trying to importa sound. copiedthe sampleintothe lvlovies in the Krishna folder, we directory were able to convertit successfully. We had no such issueson our Windows test machine. OnceyouVeselectedor createda all Moviefile,you can perform Thereare a mannerof manioulations. toolsfor shaping a rangeof drawing givenFrame, as well as a few by whichthe numberof methods Frames can be adjustedfor a given Synthknowswhether sound.Krishna you'reattemptingto draw on a static and will adaptits or movingFrame In addition to accordingly. behaviour Triangle tool,you get Sine, the Pencil and Elliose well as a Line Directly tool and a few othe6 besides. Frames in this way is manipulating and inspiring. enjoyable your Frames As mentioned, can be by a mod source, such as animated This or AHDSR envelope. an LFO

Under control
lf it wasn'tfor the wealthof controlon offer, Frame Analysis Technology Krishna Synth's wouldn't be halfas muchuse,for the modulation Oscillator moving. sources arewhatgetthe Frame generators We'vealready discussed the envelope but thereare a lot morethan thoseto and LFOs, the obvious mod sources. First be foundamong and foremost, Krishna Synthentertains some advanced notionswith regard to MlDlLearn to a MlDl functions. Assigning a parameter is as easyas you like.A single mouse controller clickon the MlDliconhighlights all assigned parameters, andyou haveonlyto clicka parameter yourcontroller and twiddle to assign Thisis not unusual, but the developer has another. gonea stepbeyond withthe ability to assign a ^ KrlshnaSynth'sexcellentmodulation routlng system is a highllghl your range to the effect minimum and maximum MlDlcontroller will haveoverthe destination parameter. parameter, At the risk of sounding Thisis veryusefulindeed. linkingthe two instantly. menus. likea sustained loop,we shouldpointout that this Built-in modulations arehandled via droo-down sample you can also dragany mod sourceto a desired on our Mac... behave as expected However, function didn'talways

There's alsoa noisegenerator, but on not whitenoise our Mac it produced but onlyclicking staticthat played havocwith our meters. Onceagain, was not sharedby this affliction the Windows version.

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is not limitedto linear animation playback either, so you could,with twista sampleof cleverprogrammihg, music"to the words"computer like"musuter compic". Not something that you'dwantto. Butyou could.

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The oscillators may be synced and can perform ringand frequency modulation and all of them duties, can be pumpedthrough a simple multimode filter. Youget a choiceof low-or band-pass filters, as high-, well as a singleknobeachfor cutoff ano resonance. The modulation sources are 1 is dedicated to the use of Oscillator 2 and 3 offer represented by the aforementioned whileOscillators Frames, Thereare waveforms such AHDSR envelopegenerators. traditional synthesis three of 'em in tow and they're as saw.souareand sinewaves.


Further modulation sensitive. velocity each with is providedby the five LFOS, step as well as six LFO 11waveforms, a 16-step Oh,and there's sequencers. with 128 memory notesequencer that shouldbe slots.EveMhing can indeedbe syncedto syncable temDo. the host's that there It goeswithoutsaying All of the usual are built-in effects. suspectsare accountedfor. Reverb, phaser, and a tube flanger delay, are here, and are slathered, emulator the case,far too liberally as is usually over many of the presets. there are,as we As for presets, the said,3GBof them.Manysqueeze Oscillator bestfromthe Frame whileothersare of the technolory, emulativesort (we preferthe former). are Someof the padsand effects quiteevocative, thanksto the ever-changing Frame Oscillatois soundsare Theemulative animation. thoughthereare lesssuccessful, bassesand leads some excellent Dueto the brokennoise onboard. generator some on the Mac version, of the presetsdidn't play properlyon that machine.

cronox3 LinPlug
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synthfrom the creators A powerful sampleimport that offers of Albino and maniDulation Vertigo discoDsP cnriii . 8l1Or't':) gem from the An underappreciated you Discovery folksthat brought synthesizer Vertigois an additive sampleimport withsomefantastic onboard functions
$vi.idi;tdw#s*i r,t,,,r',! ,riil i9,$r'rti;.,*,t.w

into sound Journey

is often The pathto enlightenment with peril- Krishna longand fraught Synth stillhas much of thatjourney ahead.At this point,it offersa new idea and is tightly and intriguing Yetthe developer designed. has a few obstacles undoubtedly particularly with the to overcome, However, Mac version. unstable who prefer intrepidsonic explorers Windows will the viewthrough and engaging a powerful discover guideon the roadto sonicniruana. (notto pricetag Witha reasonable plans), instalment mentionmonthly Krishnacould orovehardto

^ Draw your own conclusionswith Kdshna Synth's powertulwavefom drawingtools

MUSIC 2007C0MPUTER Ausust I 083






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untingthroughendless drop-downmenus,pop-up windowsand minute, obscurely labelledicons might be a good indicationthat your software is packed with features,but for some,this is more of a confusing distractionthan a bonus.Those who havefoundTracktion to be their orefenedDAW- or Tracktioneers' as they havewrylymonickered - havebeenenjoying themselves an idylliclifeof single screen-based composition since version1 (cm5Z6/10).By the time Tracktion 2 came out, the DAWhad beensnappedup by Mackie, who allowed the program to flourish it naturally, ratherthan overloading and the like,and with 'hot features' 10/10in cm85. we gaveit a stonking Withversion 3, Mackieare ofiering aimed manyworKlowenhancements some of the criticisms at squashing as well as raisedlasttime around, supportand improved controlsurface some audioengineimprovements, in much of whichwe covered 3. cm113's CM Guideto Trocl<tion and all MlDlor audioinformation, in data on a track is editeddirectly window- the track'slane the project expands to showthe audioor MlDl editing tools. editorand the relevant Tracktion then appliesa modular 'Filters'to systemof what it calls is simplyany eachtrack.A Filter type of plug-in, be it a volumefader, an outDutmeter or a VST effector instrument. Filters can be quickly mutedor deleted added,reananged, lt's a very at the click of a button. system, logicaland straightforuard in but this is also its limitation: it simply earlyversions of TracKion, wasn'tpossible to set up a send this has effect,for example.However,

PG:lGHzCPU,512M8 RAN.4, 10GB diskspace, Windows XP,DVD drive Macr G4lcs/lntel 1GHz. 512MBRAt\,4. 10GB X 10,4.8, diskspace,0S DVD drive

PC:RockCentrino 2.lchz, 1GBRAl\.4, WindowsXP Home.Novation X-Station Mac: Powerbook 1.8chz, 1GBMiV, 0S X 10.4.8, Novation X-Station

Righton Tracktion
with Forthosewho are unfamiliar it,TracKion takesa one-window and approach to MlDlsequencing in orderto keep audiorecording thingssimple.Eachtrackcan contain

084 | CoMPUTER MUSIC August 2007

Filters', with'Rack a beenovercome prccessing modular $Btembuiltin a similar veinto thatof Energ/Xf. filters Rack enable someof the of the more traditional functions - suchas thegoodold sequencers muchmore sendeffect andhave functionality for anyone advanced wllling to getstuckin.Throw two VSfsynths intoa rack single-oscillator of volume Filters filter, adda couple filterplug-in and anda rcsonant you're building a modular effectively for example. synth, Sowhat's newfor version 3? Flrstly we and,to us,mostsignificantly, cannowmakeuseof Foldertracks. In previous iterations, a complo( prcject wouldoftenentail endless mousescrclling down, downand yourlasttrack further downto rcach Now, seb oftrackscanbe grouped, splitandreananged compressed, withFilters fiomwithinFolder tracks, andvolume applied to all.This simple improves on the previous straight-line method of automating VSfinstruments andeffects, and gradual makes tempochanges in conjunction withthe EEalgorithm a joyto implement TracKion nowalsointelllgently caters for parameter automation. parameters Switch-based on V5[ effecbandinstruments operate correctly whenautomating stepped curves, andVSXML support has beenadded, meaning thatVSf parameters automation aregrouped wlthout andnamed sensibly, the need to trawlthrough massive, tedious listsof parameters on screen. In shortTracKion's automation $6tem hasbeentightened up significantly, putting it easily on a parwiththe competition in thisarea. loop Other tweaks include brcwsing tidying up of theTracktion Edit folder for eachproject a resizable windowBypass context

haveputtogether effects Mackie (seeUltimote below) make or Projec?, system starter it a morcthanviable for newuses. will bemoan Undoubtedly, some which colour scheme, the pastel gives impression that the misleading is something of a toy,andTracktion - thetotallackof here's the crunch WeVe saidthis mixer. a conventional ifyoumoan aboutthe thoughr before, youVe really missed lackof a mixer, the pointofTracktion. concems FlftesandRender Ouronlyreal complaint executed feature is,to Marked Region butbeautifully projects preset withlae multitrack worth the upgrade alone. options, selections in the Filter working ourminds, andediting canbe menu, newMarker scrolling ffacks, saferecord where graphically withresponse and morc- all of whichaddto the clunky, to be something have experience, without compromising the timesldaving Ontop of this,Mackie TracKion 3 is though, inherent useability of the program. desired, Overall implemented the excellent as ever. lt'sstill elegant Eficienttimestretch/ as beautifully Elastique pitchshift intuitive, andits newfeatures algorithm, making audio hugely to rootshifting and Sois it worth the upgrade? Absolutely: makeit morepowefulandeasier timestretching Thisis withthanever. manipulation morcprecise Folder track andthe uodated audio stayoEanised formant powerful DAWthat never withfewer artifacts. timestrctch algorithm makelt a onedeeply andladen Theintroduction of Bezier-curyed no-brainer forT2 users. Meanwhile. getsin the wayof thatall-important flow cnr tracks signifi cantly the package of instruments and crcative automation

^ lfs now sasy to wrap muldplo Fllbls In a Rad{


cubase SE3 StelnbeE N'A>)NrA)> i:i l l) muslcproductlon Budget-prlced SX3 systembasedon Gubase SonarHomeStudlo6 XL Cakewalk D 9/lO )>f 130 cm113 version mlddleweight CakewalKs of their fulFonDAWand at a keenerprlcetoo

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MUSIC August 2007CoMPUTER | 085


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The force behrnd plug-ins such killer asFrohmage andOhmBoyz areat rt againl Weinvestrgate themisdeeds of theirall-new multiband monster...
Maci Gs/lntetcPU,64tvB Mt\4,25N48 disk sDace. 0S X 10.1(but 10.2is strongty recommended) FC; Pentium llFcompatible CPU, 641\48 MN4,25tVB disk space,Windows98

Mac;2.16GH2 IntelCore2 DuoiN4ac, 1cB MN4, OSX10.4.9, Cubase4, carageBand, l\4-Audio Firewire Solo

AUDIO DEMOS Thepowerof Melohman can be heardin the Audio Demos folderas we'play'Ohmicide whileit mangles a drumloop

andit'llsetyoubacka very reasonable 79.That's for a single format. lf youwant'em all,you'll have greeted withsomekindof waming to comeup with99,buteven that's After all,thisis nota processor going for the hardly to break thebanklt'sa faint-hearted; gunwith it'sa hired welcome move fromOhmForce, not murderous intent and, fora very small forcing customers to payfor formats price, your tracks could be among its they arenlgoing to need. nextvictims. We'llbegin our investigation witha round-up of the usual suspects... Ohmicide:Melohman's bone-white Ohmicide platform is a cross interface represents a bit of a plug-in, withsupport for theVSf, AU departure fromthe usual over-the-top - thereareno andRTAS formats. Though it is an OhmForce design processor, effects it takesadvantage claws, catsor space aliens to be of OhmForce's Melohman technolory seen. This timearound, clarity is the getthe on thislater), {more so you'll modus operandi, though theyhave mostout of it if youhave a MlDl flexed theirartistic sidea liftlewith controller to hand. lt'sdownloadable, thedried blood stains andtyped logo.
ach time we open this new distortion plug-infrom Ohm Force, we almost expectto be


Ohmicide is a multiband distortio processor, andthe controls for each band aretucked awayjust below an informative waveform display. Global controls aredotted about the you interface, andat firstglance mightbe surprised at the lackof marks surrounding theknobs. Butnot - clicking to worry onebrings up an youan ideaof indicator thatgives paramete/s thatparticular value. All in all,it'sstraightfonuard to getaround andeasy to underctand. Which is a goodthingtoo,because quite there's a bit going on here. TheOhmies aremasters of multiband manipulation, and Ohmicide: Melohman stays trueto thecause withup to fourdistinct

oe0| coueureR MUsIc August 2007

bands of distortion. Theideais that youbreak your signal into down frequency bands andapply separate processing to eachof them. individual youmight apply some For instance, analogue-style coloration to the subtle frequency band, whileat the lowest timeslathering some harsh same destruction on the highest digital withsomething else frequencies, to themidrange. entirely happening
variationson each type of distortion. In additionto the Standard variety, there are also )CC( and Odd versions on tap. The )0C(familyis ideal for strappingacrossguita|s- to our ears, it providesa more visceraltone with some types of distortion. The Odd familyadds yet anotherhue, often grittierthan the Standardset especially at odreme values.

aa ao aaaaao


Whilethe abovefeatureset would Eachband has a dedicatedgate with more than justifythe price of Amount,and Ohmicide, the Melohman features controloverThreshold, Attackand Release times.There'sa clinchthe deal. Forthosenot familiar Shapeparameter that swings with Ohm and'sharp' Force's Melohmantechnolos/,it between'phat' waveshaping duties,and additionally, allowsyou to set up variouspreset you'reallqwedcontrolover gain, morphingbehaviours for triggering via This allowsfor some volume,feedbachfeedbackfrequency a MlDl keyboard. interesting live interaction with the and spreadof the affectedsignal. are per band. plug-in. Youcan, for instance,set Again,these parameters up so that higher velocities Each band even has its own menu for Ohmicide

yourtype? What's

Murderous MIDI

lertrng! Load,., Sav... Autol@d [Undefined) m@s mode / Enhan<d ,!}ili Auto-bind ltarg.t : Bl upper Frcq] Un-bind [81 Uppr Frq lNRnl 13]) Inprt devi > Output dwice Prografr Changesslgnatlon

> All odaves No MlDl control r' octaw I ochw 2 ochw 3 ocaw 4 Ocbw 5 Ochw 6 OcbE 7 OcBw E o.bE 9 Ocaw 10

Melohman Oenlity Melohman Channl

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selecting oneof themany available causethe patch to changesuddenly, of distortion. Very cool. while slowervelocitiestriggera more types gradualmorph.In the past Ohm Note thatwe saidtypes'Ohmicide doesn't askyouto settle for Force haveonlyappliedthis ideato distortion method, butoffers synthesizers. Here,for the fiIst time, a single no lessthan27 difierent algorithms, they've addedMelohman to an These run eachwithtwovariations. effectsdevice,and to excellenteffect. greatfun using from We had particularly thegamut thesublime waveshaping of Soft.Clip to the all-out Melohman to peform a live'remix'of of thesamole-and-hold-a rhythmtrack aural attack In addition based Decimator. Some, suchas to Melohman, whattheirname Ohmicide has MlDllearnfunctions Puncher, do exactly whileothers, suchasAngry that enableyou to latch parameters suggests Mouse, aregiven lessobvious names to MlDl CCs,such as those (Angry Mouse sounds claustrophobic transmitted by knobsor sliderson an bytheway). externalMlDl controller. Evenpreset andfiltered, selectioncan be assigned- a trick Assuggested, therearethree

we found to be quite usefulfor We preferMlDl creatingglitchyeffects. via a learnthat can be assigned but Ohmicide's simpleright-click, methodis fine. menu-based

^ Melohman enables you to morph betrveen presets by playlng notes on your MID keyboad

Doesthe jury havea verdic?lndeed we do.We find 0hmicideMelohman guiltyof wanton acts of audio But ratherthan lock the destruction. we'reinclined to let it culpritaway, its unspeakable run amok,inflicting violence uodnthe earsof all and sundry- that is to say,Ohm Force havedone it againwith an absolutely plug-in. cracking We'vecome to exoecta certain and levelof qualityfrom the company, lt doesn'tdisappoint. Ohmicide certainlyisn't for everyone fue don't to get alongwith id, expectnew-agers but for those lookingfor somethinga lt this is a no-brainer. littledangerous, lethal, and at this soundsabsolutely cheefully low price,it's an offerwe can't

lzotope Trash cm61 }} 9/1O >) $199 A more conventional distortion plug-in,complete with amp simulationand LFos

AudloCamelPhat Camel cm69}>8/1O>> 5S5 distortion and LFO, compression, sometasty EQgivethis plug-in punch someserious

2007C0MPUTER MUsIc| 087 August


'%Kffiru 1"tft-..$:fj i

003 Factory ffi

wln usoverln the greatDAW race? Werelay ourverdict to yourighthere...
FC/Mac:A Digidesign-qualilied systemrunningpro (lncluded). ToolsLEsoftware for morc intormation.

The 003Factory takes thebaton from theDrgi 002, butis rt stiltoncourse to

igidesign continue their assault on the project studio market wltha newmember of the'00'family, the 003 Factory. Like the002it combines a FireWre audio andMlDl inteface witha control sufaceto runthebundled Pro Tools LErecording software. There's alsoa multitude plug-ins. of accompanying lf you're familiar withthe002you'll feelinstantly at home, because 003's appearance andsize arevery similar. It'sstillbeautiful but it'swhat's inside thatcounts, andthenewanival has many newtricks up itssleeve... The003family hasthree members: the003 Rack, the003 Rack Factory andthe 003 Factory.
Onlythe latteris an all-singing alFdancing controlsurface and that's what we're lookingat here.

Mac: l\4acBook Pro,2.16GHz IntelCoreDuo. 2GB RAr\4, 0S 10.4.9

The24-biV96kHz audiointerface is tuckedneatly away on thetop rightof the surface withthe connections on the rear. There areeightanalogue inputs andeightoutputs: thefirstfour canbeswitched between micand power instrument Dl,withphantom in pairs gain andindividual andHigh Pass Filter controls; thesecond four -10or arestraight linelevel at either +4d8. Themicampshave been improved, witha IHD+N level that's 14dB lower thanthe002's anda

107dB dynamic range. There's alsooptical l/Othatcan be switched between eight-channel ADAT or stereo SiPDlF, andanother pairof S/PDIF l/Os on phono connectors. A majornew development on the 003 is the addition of BNC Word Clock, enabling youto syncup to otherpieces of digital equipment. Physically, the MlDlsection has the sameoneIn andtwo outs,but virtually the003nowdoubles as a standalone MlDl controller, allowing integration withotherMlDl sequencers, suchas Logic, Cubase andDigital Performer. There areeight user-definable MlDlmapsettings for

088 | C0MPUTER MUSIC August 2007


storingdetailsof differentsetups,with instantaneous switching A prime differenceon this new beast is the additionof Automation Mode switches- Read, Write,Trim and so forth. Thismightseem like a smallthingbut it makesa worldof difference to the 'mix exoerience'. Youcan also now assignInserts and Sends, so thereisn'tall the to-ing and fro-ingbetweenmouseand for so surfacethat can be off-putting manypeople. The displayis much biggerthan

potsand tweaked using thefaders, switches, andonceyougetthe hang of it you'llbe wondering howyouput up withjusta mouse for so longThe onlyothernewfeature on the controller is a jodshuttle wheel.

thaton the 002,withtwolinesof six perchannel and characterc five-segment LEDs on each. There are which we reckon is eight channels, - flipping justtheright amount through thebanks is instantaneous andbother-free and it helps to keep theunitsmall. Otherwise, things are much thesame. Allooerational aspects ofthe software canbe alternate control roommonitor output pairof monitors, allows for an o(itra withonebutton switching between An auxiliary sets. inputis provided for an external CDplayer or the system output of yourcomputer. As on the 002,there's no facility fordirect input monitoring to avoid latency. Instead, thereareverylow buffer sizes anda 'lowlatencv

^ PlugIn,tuneup andpunch In! monitoringi setting thatbypasses plug-ins andotherprocessor-intensive Thisis finefor mostrecent functions. lastcomputers, although it could a problem during thelater become whenlarger of a large session, stages forfull playback buffers arenecessary withthe Pro The003 Rack comes giving Tools Monitoring hasbeenre-thought, lgnition Pack 2, whilethe Factory the 003 Factory muchmoreof a Tools models comewiththe Pro feel. There arenowtwo Pack 2 Pro hasbeen orofessional lgnition fuhich } ALTERNATIVELY independent headphone feeds since the002) andthe that super-charged Projecdvlk UO M-Audlo givethe performer a discrete stereo Factory bundle, whichhasawesome cm97>> 8/1O)) 1950 (not RunsProToolsM-Powered potential. production mixfromoutputs Plug-ins include threeandfour. An included). Slmilar to the 003 but processors, Maxim, theJoeMeek doesn'tofferthe samelevelof D-Fi, two SansAmp PSA-I, controlor the vast plug-inbundle more. unitsandplenty Moogerfooger


the step betweenthe 001 Whereas and the 002 was a giantone with the the additionof the controlsurface, steo from the 002 to the new 003 Factory isn't so big, but the arrayol to changesmakesa major difference the way you interactwith the unit. With the additionof Automation Modesas well as Inseftand Send assignment, there'slittle need to resortto the mouse,which makesthis a morewholesome experience. is coming Finally, the controlsurface of age for the

FW-1884 Tascam cm70)>8/1O>)?1299 and Firewire audio interface controller for most popularDAWs lt's been exceptDigidesign's. aroundfor a while now,so there are greatdealson it to be found

2007C0MPUTER MUSIC August | 089


limi Hendrix
^ Jimi'ssignature away tones are just a mouse-click

PC: Pent um lGHzAthon XP1.33GH2. 512NlB pAV \V " los - vp VsTR aSI o. r rD-45 rA,,ilil, , ProTools 70 or ater) Mac: 866 MHzG4 1.5GHzntelCore Solo RAN4 Mac OSX 10.4AUVSTRTAS 512lVlB host rcoures ProTools 70 or ater) 1RTAS

PCiHPPavil on 2.3GHz CPU. 1GB RAM

AUDIODEMOS l n t h e A u d i o D e m o sf o l d e r y o u ' l lf i n d a n u n c a n n yd e m o o f AmpliTube J H ' sa b i l i t i e s

lK lvlultimedia AmpliTube 2 A w i d e r r a n g eo f a m p s a n d effects are on offet but that's why it's more expensive Digitech Jimi Hendrix ExperiencePedal Amazinglyaccurate hardware only emulates seven songs' tones though

mpliTube 2 was the solution tones, and theywon't to crafted signature problems: out manyguitarists' lnstead of picking be disappointed. just fiveor six classic songs, lK have excellenttones,accessto goneall-out tone moreamp modelsthan one person and provided every (andwe meaneverytone) found couldeverhopeto own and,of course, the ability to makegreat on the firstthreeJimiHendrix recordings withouthaving to crankup Experience albums. an amplifier to unsociable volumes. Not content withthatgiftto the guitar world,lK lVultimedia donean havedecided to It mustbe saidthat they've job of capturing the tacklethe mostdesirable set of euitar incredible Pafticularly tonesin history. of eachsound. subtleties of Whenyou firstloadthe Hendrix is the responsiveness impressive - theyremain edition, it's hardnotto fall in love. The the distonion sounds the input GUIlooksgreat: the amp fronts, relatively cleanuntileither the guitar cabinets and pedals have all been levelis pushed or you attack 'distressed'to looksuitably retro, Lodytone is a great and The Foxey the low and eventhe tunerand rackareashave example of this,where beengivenan old-school look. mediumnotesof the riffstayrelatively Thebasiccomponents to the aggressive consist cleancompared of four amp models, sevencabinets, highstabs. - sevenof which pedals nineeffects Almost as impressive arethe clean are currently onlyavailable whicharewarmand in sounds, - andfour bass AmpliTube JimiHendrix full-bodied, withgorgeous MoryIone rack-mounted lt's a prety good sounds. The WindCries effects. exciting us collection of retrocomponents {see stands out in pafticular, healthy. But/ hote Hendrix... belowfor more), morethan is probably here but theycometo lifewhenthey're Theonlymilddisappointment In the absence of a usedwithHendrix in mind. is the wah pedal. people is the only l\4ost who buythis package controller, the Autosetting practical it'snot will be interested in the carefully option. Unfoftunately,

Let limi take over

so the resulting sensitive enough, sweepisn'tas deepas it shouldbe it doesn t quitecut s onlya minor gripe, though. Theimponant thing to keepin mindhereis thatAmpliTube Jimi Hendrix setsout to emulate Jimi guitar Hendrix's tonesby modelling th gearhe used- and that'sit. lt's not plug-in on the mostvercatile the market, but then it doesn't claimt. be,so if you needto coverall bases you'dbe better offwithAmpliTube 2 o' However, if you're afte similar software. guitarsounds, you vintage authentic gearfor viftual won'tfind much better themthanthis.And if you recreating wantJimiHendrix tones specifically to play with, thenat 1159, thisis an must-own. cm absolute

090 | C0MPUTER MUSIC Ausust 2007




The creators of Vogue serve upa surprise in theformof anunusual virtual synthesizer. Wesample thesweet delights of Unique .
^ Speak your mlnd wlth Unlque's fabulous fomant-flltered phenomes

PC: 1.6GHz CPU,512M8 MM Mae 1.8GHz Prc CPU/1.6GHZ InelCPU, 512N48 MtV

Mac: 2.16GHz IntelCore2 Duo il\4ac, lGB MM, 0S X 10.4.9, Cubase 4, GarageBand

MHG VorEnth N/A > N/A ) $89in bundle MHC'S cross-platform Voxynth offers lots of vowelformants and comesas part of a generous bundle.Less controllable than Unlque Vocal ConcrcteFx N/A >> N/A)>$46 Vocalis dirt cheapand has lots of controloverits formants, thoughit's Windows-only

e lovebelngtaken by independent control over thelevel, and youcan surpdse. Here at cm,we're where there's a mixsection thefirstto admit thatwe blend theoscillators andperform getourfill of theseemingly somenifty polyphonic panning sometimes tricks. endless buffet ofviftual analogue There's alsoan additional synths andrun-of-themill ROMpleE. sub-oscillator intothemaster strapped It'snicewhena developer deliven for added section oomoh. something witha slightly exotic flavour. Wehave to confess ftat Sugar Bytes' newcross-platform Unique While theoscillators aren't tenibly didn't have ourmouths watering when exciting when taken on theirown, the we installed it - it looks a bit bland. to life sound of theinstrument springs However, likesome cream-filled whenit hitsthefiltersection. Needless confection, hides Unique something to say, analogue high-pass, low-pass tasty beneath thatplainexterior. andband-pass varieties arein place, is a dual-oscillator Unique filter. These along witha comb all plug-in synthesizer available in VSIand sound fairly andensurc convincing AUformats Each oscillator offers a thatyouwon'trunoutof classic selection of fivewaveforms. The anytimesoon. analogue sounds obligatory sawtooth andpulse waves Thisis all wellandgoodbut again, archere, along withnoise, triple saw nothing we haven't heard before. lt's pair youactivate andtripleFMwaves. Thelatter Filter only when theVowel offer extra fodder foryour filten. The mode begins to eamthe thatUnique triple sawis a sortof stacked TheVowel Filter sawtooth rightto its name. generator youto string witha sprcad control, which allows together twoor is useful forthose ever-popular formants andplay them trance fourvowel gives stabs. ThetripleFMwaveform You backin a multitude of ways. can youtheability to craftmetallic, usean envelope, LFO or modwheel to fiequenry-modulated timbres. scanthrough them, or thededicated Each oscillator section hasan four-step sequencer. Such acrobatics independent ADSR-st/e envelope for funandofteninspiring arcgreat

Don'ttalk back

Beyond thefilter, Unique offesa prccessors of efiects withthe couple phaser, reverb, lo-fi usual delay, prccessor andanother filter. Oddly, fte filteris onlyavailable in thefirstslot whilea chorus its place in the takes generator. Thedelay second effects ofiers a built-in filter withcutoff and forthose rcsonance controls echoes. In addition to these old-school you'll finda dedicated vibrato effects, function withcontrols for rateandfade timein the Master section. is a bit of a sleeper. lt didn't Unique outofthe boxandthe blowusaway presets included make fartoo much useofthefilte/sovedrive function. intothe Yet oncewestarted dMng wefound controlles andVowel Filter, newandinteresting timbres, some of jamming inspired which some serious cm Andthatgetsit thethumbs-up.

August 2007CoMPUTER MUSIC | 91



andrf youdon't sampler, fusteffects theirlatesteffortastheworld's arebilhng Acustrca about'.. onto findoutwhatit'sa1l read Volterras, fromvour Vectorials know vour
512M8,Windows(98 not PC:P4lAthlon1.8GHz, VSI'host supported),

WindowsXP PC:AMDAthlon64 3000+, 1GBRAM, cubase5X3,leskolaBuz PD sP2,Steinberg

DEMOS AUDIO CM is Thecut-downNebula3 in the GM Studlofolder,while in Audlo Demosyou'llfind Nebula3, demonstrating WAVS text file and an accompanying

338 A whopping cannot. convolution (simulations) aresupplied' Programs bitsof fromfamous many sampled as Nebula3 buy currently You can you kit. couldcapture At last wideopen. forthe at 6GB though youliked a download, anduseit in anysound let'shopeAcustica library, complete yourmusic. Butwhathasthisgotto sharpish. get sorted version DVD the new Audio's do withAcustica Fast display's the faux-LCD Page processot? VSIeffect Windows downinto breaKprograms as it happens... EveMhing, (PreamP), EQU of PRE firsteffects categories is the "world's Nebula3 (equaliser), COM FLT ffilted, anditsWKI (Vectorial sample/', (mid' (taPe), MIC TPE for (compressor), allows Technologd Kernels Voltena (amplified, TMV AMP of Eeneric recreations virtual authentic suchas phasers' effects, time-variant units, sPeaker hardware efiects and keverb)' flangerd REV preamPs and choruses, microphones, cabinets, Nebula3 the of versions are two There to convolution, more. WKI is difierent mustbe Nebula3Reverb VSIsupplied: nonlinear many as it recreates andtime-variant ghtforward usedfor reverbs that strai systems
hen the sampler anived,it blew the doors to many a musician'simagination

as latency andit introduces effects, the regular though side-effect to no latency. hasnext Nebula3 Toloada program, Youclickit in the
list and, afterthe data has loaded, labelsabovethe eight main faders for that show the parameters emulation(youcan controlthem via

of eight Pieces

learn MlDl andthere's MlDl, for controls willhave An EQ might a Preamp andattenuation, etc.Confusingly control, a drive have that oren't of the efiects many for havecontrols compressors
and release- these actually 'reacts'tothe Nebula how quickly

2007 August MUSIC oszI coMpureR

incoming signal. Theemulations don't givecontrol necessarily overevery parameter of the ori$nalhardware EQemulations, for eithelso many havelow middle andhigh example, programs. bands as separate Sowhatyouwantto knowis:How pleased We're doesit sound? to report thatNebula3 really is ableto bring special to your something mixes. Thecompressors, for instance, a wonderful canimpart character that weVerarely head in softwarc fifeverl get compressors, andwe couldeasily thempumping andsqueezing in very musical ways. We'rc nowquitein love withthe'Boeing 747' and'Do U prcgrams. Wanna Comp?' Similarly, the EQs do more thanjust equalise; theycanintroduce colour andtexture, notso. sometimes subtle, sometimes Themicandampemulations are righton the money very fthough CPU-intensive). the reverbs offera selection sampled fiom Lexicon's PCM70, as wellas Kuzweil and Digitech unib,andmore(spring and platereverbs for instance). The emulations of the PCM70's factory presets in particular arefantastic we compared these WKl-powered prcgrams Some of the preamp seem undeMhelming andtoosubtle to be point of useat firstbut asAcustica preamp out,a mixer would, of course, be pointless if it coloured thetone strongly, andthe effect on a single channel is therefore oftennegligible. Yetby insefting sucha model on ol, the channels of a mX the overall effect canbe greatei thanthe sumof ib parts, andthisdoesholdtruewith preamp Nebula3's simulations.

Power hungry
However, thesechameleonlike capabilities comeat the costof a hefty chunk of $stem resources. programs Some canbe up to 150M8 in size, using about50%of our (admittedly notso cutting-edge) test machine's CPU cycles. TheEconomy modehelps to alleviate CPU usage, affecting the sound onlya little. There area fewgenuine annoyances, though. There areno level marks on the meters. Andwhen thedisplay reads'Econo', Nebula3 is actually in Normal mode, not Economy mode(and viceversa). We alsofoundthe method for loading differcnt banks of programs to be

forthe someoptions arefartootechy (themanual producer avenge is pretty You decentthough). can getbyin Nebula3 forthe actually onlythe Fast Page mostpartby using andtheparameter sliden.

pregEms ^The Fast page allow you to bffie by catsgory, thon load them wlth a slngle cllck Who Just asked why ]t's called Fast?

Future sound

Withall thatsaid, thefactremains sounds simply thatNebula3 andtheprice is absolutely superb, ridiculous forwhatyouget- evenif youonlyendup using oneof each offered, it'sstilla typeof emulation is even stone-cold bargain {Nebula2 moreof a steal, and is identical, the LCD strip except thatit lacks andhasa smaller above thefaders maindisplayl. Some of the price prcgrams areworth the asking on theirown. You shouldn't buy yourconventional Nebula3 to replace plug-ins, efforts to standard impulse rcsponses unclear, andwe experienced the though, oftenquicker fthey're of the sameprograms in a regular occasional lock-up when loading flexible andway to workwith,more plug-in, progams. convolution anfltherewasa large Thefontis verysmall moreCPU-friendly), for but instead (Acustica marked difference in somecases, saythata newskincould useas a potent ally. Theprospect withthe impulse responses sounding provide a la6erone,though), makes and for future expandabiliV flatandalmost mono in comparison! someparameters/labels have cryptic, Nebula3 evenmore tantalising and Thetime-variant effects cansound abbreMated names. Acustica Audio should be a bit'stepped', depending on the An 'easy' modeor somesortof for theirforward-thinking commended settings usedandthe source material, context-sensitive helpslatemwould forthat approach. Nowto getsaving buttheydon'tlackin toneandvariety. be a welcome addition, because eight-core PC... cm


pluglns Voxengo NA >)N/A )>$0-$130 plugsyou'll Amongthese respected find just abouteveryeffectyou need, and somethat mimicthe 'realthlng'admlrably AudloUAD-I Unlve6al NiA>> N/A ) fViviable lf you don't mind buyingthe UAD cardto powerthem,there are all kindsof great-sounding emulations for thls system, and they available your CPU won't devour either

2007CoMPUTER MUSIC August I 093


PC: ntelP4of AN4D Athon 2GHz. IGB RAlvl. Windows XPHomeof Professlona SP2 yet lVsta not supporled) fvlac: Power MacG4 Dual367MHz. al Inte l\4ac modes. 1GB RAI\4. 0S X 10.4




^\srsf + ET
{ .,{ . ,.

< The iol26 is cedainlyas well built as it appearsto be


(", ( ee \',\.,.

fvlac: Appe l\y'ac ProQuadCo 3GHz3GBRAM 0S X 10.4.8, Logic Pro72

M-Audio Firewire1814 Slightlydifferentconnectivityto the Alesis, but does include ADATouts and lg2klz suppoft, and is pretty compact PresonusFirePod E i g h tm i c p r e s ,s i m i l a rt o t h e A l e s i st , h o u g ho n l y 9 6 k H z operation and in a standard 19 rack case

hingshavechanged in the audiointefaceworld. Rummaging installing around yourcomputer PCI cards inside has mostly beenreplaced withthe ease and simplicity of FireWire or USB, and thetraditional in/out is looking device a bit old hatthesedaystoo.Thelatest waveof intefaces aimsto do a whole lot more, and the newAlesis desktop unitsexemplil/ this approach Upfor review is the top-of-the-range i026. Withup to 24-bi!192kHz operation, thisunit offers serious specat an affordable price. Unsurprisingly, connectivity totals 26:that'seightanalogue, 16ADAT and stereo S/PDIF connections. All pretty standard fare, thoughthis is for the inputsonly. There arejust eight (sono balanced analogue outputs ADATs). although one stereopaircan be mirrored to the S/PDIF out Theeight analogue inputs use high-qualiV Neutrik multi-format connectors for mic and line designed (balanced inputs or unbalanced). The firsttvvo can alsobe switched to high-impedance modefor Dling guitars. Round the backyou'llalso phonos find stereo for a turntable, and thesecome up on inputsseven and

there's a switchto enable eight(again, insinclude a Alleight analogue this). pre-converter analogue inseftpoint jack,and phantom TRS usinga typical power is available on all mic inputs (switchable in pairs). Theinseftpointis pefect for thosewanting to patchin - suchas a compressor or hardware - before the signal hits valvepreamp the digital convefters. two Thebackpanelfeatures outswith level headphone separate mix knobs(youcan senda separate in/out. Connection to each), and l\4lDl FireWire, and is via standard six-pin poweris supplied or eitherby FireWire PSU. LikemostFirewire the included channel intedaces, samplerateaffects a pretty but the iol26manages count, healthy fourchannels at 192kNz.

Sound bet
At this pricepoint, intefacescan be flimsy, but.lts but the iO26 is anything feet helpit cling weightand rubberised and a quicktour of the to the desktop, that connectors and knobsindicate engineered box. this is a solidly Toput the iOl26 through its pdces, guitar we firsttriedDl'ing and found to be really the wholesetupprocess to the Routing the inputsignal simple.

outputusing the HDIM software is a Blend knor doddle, andthe dedicated get a working meansyou can quickly balance between computer output Withinput and the incoming source. gaincan metering on the frontpanel, at your easily be set,withoutlooking Moving on to a mic hostsoftware. the Alesis mic amp design source. proves to be cleanand unobtrusive. The50dBof gainisn'tmassive, but for mostsituations shouldbe enough havemadea real Overall, Alesis manypoints with stabat addressing the i0126, and for the mostpaftthey\. nailed them- lotsof options, a simple and easyaccess to the tidy intedace youwant.Th. controls and connectors software end of thingscouldbe more it'ssimpl= feature-rich but,as it stands, to get to gripswith and doesenough what for mostsituations. Considering you get,the iol26is a


094 | COMPUTER MUSIC Aususi 2007


Dl MP3 Mobrte
0207 556 7843 Guillemot, CoNTACT: PC Windows FoRMAT: wirelessDJ his battery-powered looksgreatfun - the controller guy on the box is clearlyhaving the the time of his life.Afterinstalling and plugging DJing software supplied you add Your in the USBreceiver, Therearetwo tunesto its library. virtual decks,eachwith a sweetEQ simpleyet usefullooP and filter, But even and some effects. features, thoughyou can haveseparate the outputs, and headphone speaker songs, for previewing latteris purely not ior cueingup tracksas a realDJ cue points Youcan predefine would. and synctemposautomaticallY, and use them to beatmatch. though, as longas wellenough, works This


r , 1) -(1 fercures I

fii:Iri,;EF, * PRICE: 160

the musicisn'tcomplex. is a itself, however, The controller of the library Youcan browse letdown. and control display songsvia the LCD and a few other the pitch,crossfader Thejog wheelsare functions. and can'tbe for scratching, hopeless the filterinstead. say, set to control, function Therearefour definable buttonsper deck,but the possible you can makearetoo assignments we found mixing limited. Ultimately, with the mouseto be morefun and flexible, but with no cue mix,it's like Theprice DJing in the dark. but a few is reasonable, ; flawsmake fundamental this hardto recommend. .-"*---*i


I ilrtl'l H 1 1i' :l]IIf1+:irr.'i [+15 I e; *rrtt,:t i' I Tl-lijE t;








020 8207 7BB0 Arbiter, CONTACT: l\4lDl inteface Wireless FORMAT: from hardware lDl-XS CMEis a manufacturers In MlDlintedace. wireless thal the box aretwo MlDlintedaces eitherwith USB, can be powered or a batteries power suitable In a typical supply. you'd scenario, hookone up to yourcomputers USBpoft,and the to a MlDl other via one of controller the tvvosupplied Youcan Prance Voilal MlDlcables. menilyaroundthe roomwith Your whilethe intedace MlDlcontroller by the spewsout datathat'sreceived to your computer. connected inter{ace too. It can transmitbothwaYS,,uk t 150 PRICE: The systemis easyenoughto se probably you'll needto up,though peekat the manual, and the - there's pedormance is superb that over latency no noticeable whichyou'd anwa expenence has WlDl-X8 greatrange(the up m a n u ac l laims to 80 metres, your though willvary' mileage wallsarein the : and,thanks waY), radio of available number the large of unitscaup to 32 Pairs channels, be usedat's not serious but if you're cheap, ] MlDlthen aboutwireless I / thiscouldbe yourholygrail.

Auqust 2007 MUSIC 98 | CoMPUTER


round-up Samples
Trance ID [Jeberschall
CoNTACT: Time+SDace. 0183755200 FORMAT: VSI, AU,RTAS, Standalone IMac/PC) PRICE: 169 rancelD is the latestsample library to utiliseUeberschall's player. Forthe Elastik uninitiated, this is a plug-in system that's sample-playback and capableof timestretching pitchshifting samples so that theyfit The with the restof your project. construction kitson offerare great. However. manvof the soundsare not to be singlehits - it'sfrustrating ableto access the individual samplefiles.lf you wantthat,you'll haveto bounce the samples yourself. lf you'reinvolved in work,it's probably soundtrack maruellous, but for the restof us,a discfull of I individual WAV fileswould i makeall the difference. -**J

DopeTank PowerFX C0NTACT: support@ FORMAT: Reason ReFiII PRICE: $49 his ReFill is a bit of a mixed bag,offering Combinator, NN-XI,SubTractor, Malstriim, plus a whole and Dr REXpatches, load of individual samplesto use as you wish.Thevibe is generally modernand electronic, but there are no standout soundsthat would lendthemselves to any one particular genre. Thereare some prettygood samples and patches on offerhere, but there's also quitea lot of mediocre stuffthat has to be waded through to get to the goodies. The priceis pretlyreasonable, though, so if you'relooking for an inexpensive soundsource you could do a lot worse than DopeTank.


MKII Rhodes Colour Sonics CoNTACT: supporl@ WWW: FORMAT: KontaK 2.1,KontaK1.5,HALion, PRICE: EXS24 GigaSampler, $29 ast month we checked out ColourSonicsBtisendorfer 290, a veryGrandPiano indeed. Thistime it'sthe turn of the Rhodes MK ll electricstagepiano, whichweighsin at a very reasonable 15 ouid or so.Youstill get plentyof different programs, including variations with though, rotaryspeakersand reverb. lf you're Rhodes aftera convincing-sounding piano and the various free electric viftualinstruments aren'tdoingit for you,Colour Rhodes MK ll is Sonics Theamountof definitely a good buy. contentyou get for the cash is great, and its sound well with any compares I electricpianoRol\4pler I we've heard. **J

MUSIC August 2007C0MPUTER | 99


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

Inside, the wiringis neatly aidlow cable{iedfor healthy the sceneis a whacking Dominating greatfan atop aluminium heatpipes, The Nitrogon fins and heatsinks. cooleris practically Silverstone operation. noiseless in normal


Auqust 2007 100 | COMPUTER MUSIC


The Intel CPUfeatured in this machine isn't far off top-of-the-range. It's no surprise,therefore,that it c r u n c h e sn u m b e r sl i k e P a c - l v l a n on a m p h e t a m i n e sR . espectable data transfer rates are achieved by both the system and the data drives,while the RAM storms through at an impressiverate.The DARCoffers extreme pedormance that belitfles the effofts of dual-coreprocessors.
.'i '

r More loam than you can shake a silck at makes the DARC an e)itremelyquiet system

Beneath the fansand metalis a llisteringIntelQuadCoreprocessor 'rnningat 2.4GHz per core. Thisis -r.rounted on an Asusi965 Totherboard, whichemploys heatsink :ooling throughout and has provision 'or threePCI and threePCI-X cards. i matchedpairof 1GBCorsair RAM sticks, conspicuous by theirattractive turpleholographic labels, takeup fvo of the four available memory s ots,leaving a bit of roomfor expansion lateron, if you need it. Powerto the systemis providedby a 550WSeasonic PSU which, again, quietly. operates Plenty of cablingand

adequate for a musiccomputer. lt's alsoheatsink-cooled and thussilent in operation. The 1S-speed optical drive is a Dual LayerDVDrewriter, capable of handling DVD-RAI\4. Shipped with the baseunit are a Microsoft opticalmouseand a keyboard, both of the wiredvariety. Theseare entry-level quality but do the job theyweredesigned to do.The mouseis perhaps a bit light,but the keyboard has a solidfeel to the keys and looksverysmaft. In termsof connectivity, the provides motherboard six USB2.0 pofts,a Firewire poft,an external

Directresolution Computers carrya rangeof audiointedaces.

The DARC Studio+ is covered by the usualone-year return-to-base warranty. Rather unusually, however, Directresolution Computers also provide freetechnical suppoftfor the - that'sa pretty life of the product impressive sen/ice commitment. ThisPCoffersa lot of pedormance price. at a reasonable Thequad-core processor runsat closeto the top speedscurrently available and is a formidable computing force, The2GB of RAIVI certainly helps, as doesthe impressive expanse of storage space. A well-designed machine, then, housedin a professional enctosure, the DARC looksand behaves everybit likethe powerhouse that it's claimed to should ceftainly be considered if you'rein the marketfor a new music-making PCand want high performance at a good

:onnectors remain unused in the .ase so there's no problem finding rowerfor any extrabits of kit that -night needadding. OurDARC Studio+ has threehard r sks,two of whichfill the allocated soaces in the chassis. Thethird rccupies one ofthe optical drive :ays.An 80GBdriveis usedas the ..,stem drive, whilethe secondand :-rrddrives are each250GBand ::signatedfor use with audiotracks :"d samplesrespectively. All of the :'ves havean 8MBcache, spinat -l0Orpm and aremounted on rubber : Jshings. These bushings are r=signed to absorbvibration fromthe r- .es,preventing it fromtransferring ', :ne chassis, whichwouldampli{y '-= din.Directresolution havecertainly tricks : : :hesenoise-reduction
: ::40 OUI.

- -. :

DARC imagery

-l3MB graphics cardisn'tan .-: . deogame decimator, but it's a . ,: : device withtwo outputs(one :-= VGA) and is morethan

S-ATA connection, built-in S/PDIF and opticaldigitaland a parallel poft.For communication of the wirednetwork variety, there's a Gigabit IAN poft. Thesystemcomeswith Windows XPHomeinstalled, and it's been tweakedin the usualwaysto givethe best peformancepossible in use as a DAW. During testing, we foundthe system to behave well,handling demanding taskswith ease. Directresolution's systems come with a restore CDand imagepaftition, and if yourneedsrequire a dualooot system, then this can be set up for you freeof charge. Other freebies include Nebula3DR, (review a cut-down version of Nebula3 on p86J; FXpansion BFDUltralite, TriToneDigital Valvetone, Magix Samplitude SE, andApplied Acoustics LoungeLizard Session or UltraAnalogue Session. We testedour machine with the excellent RMEFireFace 400,which you can buy with the system as a bundlefor an extra1505.lf you're looking for something a bit cheaper,

August 2007COMPUTER MUSIC | 10I


cm recommends
gear months new from The best thelastthree
inioi0 f 0NTACT: WWW{ products lS f|? Mostof the computerDJing WHAT with prior coming this summer arefromcompanies in the field.This is lmage-Line's experience first such release, but the late Deckadance coderArguwas a DJhimself, and his expertise helpedhim to craft a will reallywarmto. set of virtualdecksthat DJs VERDICI'A few notable omissions ensure that isn't perfect but it's a stunning first Deckadance and absolutely attemptfrom lmage-Line demands to be givena trial run."

F-,lar pr



supponl! lennardigilarl.uonl C0NTACT: WHAT lS lT? In truth,this virtualanalogue synth's feature-set inspiring. doesn'tlook particularly four-oscillator, Sylenthl's dual-filter designhardly breaks the mould, and its modulation section isn't expansive either. Turnit on,though,and its high quality quickly becomes apparent... VERDICT Sylenthl has instantly "OUtof nowhere, becomeone of the go-toinstruments in our plug-ins folders.LennarDigital haveone of the undeground releases of the yearon theirhands."

Arbiter, CIINTACT: A2A 8247l88A WHAT lS lT?Someof us havebeenwaitingyears for a dedicated software emulationof Roland's polysynth, classicJupiter-8 and now it's here. Usersof the originalinstrument will feel instantly at easewith this virtualversion, thoughArturia havealsothrownin a few surprises. VERDICT "A big synthwith a big soundand a big appetite. Restassured, though, that the Jupiter-8v power- it's auably is well worththe processing Arturia's besteffonyet."

c0NTAcT: sales(it DsDaudiorvare.cofn iow, WWW.t)spa ud we wantto add a bit of WHAT lS lT?Whenever phatness to a track,we call on vintageanalogue This of PSP'S Vintagewarmer. the services andtape emulator multiband compressor/limiter for years- version2 has beena cm favourite brickwalllimiting, section, adds an auto-release systemand more. PSP'S FAT double-sampling just got VERDICr "Oneof the verybest plug-ins that little bit better.Buyit installit, and wonder howyou evergot by withoutit."

RONAN MAODOMI.DEDITOR lVe beenon a bloodthirsty killing spreethis month.Myvictims? Any soundthat gets in my way.My weapon? Ohmicide, the new plug-in high-calibre from distortion OhmForce that makesPredatohm looklikea spudgun.Ker-blam!

EDITOR l"EE DU.CAINE DEPUTY I'vebeenbusythis month of sampling my vastcollection gearfor valve-powered analogue Well,that's not use with Nebula3. entirely true,but at leastI can tones accesssuchvintage software. thanksto Acustica's

TIM CANTSTAFF WRIIER ThismonthlVe beencaning the pumpingkicksand snares Essential from the Vengeance Clubsounds Vol2 sampleCD- it makesme risewhenlfall (as girlout doesthe funny{ooking of Cascadal.

MUSIC August 2007 0102| C0MPUTER


Lost ln a maze of conrputer music? Fear not,ourexperts arehere to takeVour hand you and show theway out Send your questrons to
be a simple your taskto export cue up,and you're offto the recordings overto your DAW for races. Thishas the unfortunate I have a Sony Walkman further editing and use.Sony disadvantage of shuttling the HI-MDMiniDisc recorder MiniDisc recorders sloretheir audiothrough anotherD/A with which IVe captured recordings in a proprietary conversion and thenbackagain. some interesting sounds to data-compressed format. whichwillcompromise the sound use in tracks. How can I use ManySonyrecorders quality spoft of yourrecordings to some the files in Sonar? Gan I make USBconnections that makeit extent. However, if the lViniDisc direct use of them or are incredibly simple to getthe data recorder and audiointedace are there conversion tools that ontoyourcomputer, whereit up to snuff, the losswill happily can help me oufil What do can then tle convefted to .wav be negligible. you recommend? fileswiththe software that came David Gee bundled withthe unit. Those .wav ti filescan thenbe easily imported :. i' Field recorcing is inspiring intoyouraudioeditor or directly and enjoyable, isn'tit?The intoSonar, I'm a great fan of Jean worldaround us is fullof lf your MiniDisc recorder Michel-Jarre and lVe interesting and intriguing sounds, lacks suchhelpful you niceties, been searching for a and poftable l\4iniDisc recorders can always fallbackon the old program that can emulate his arean idealwayto capture them fashioned way,via the triedand type of sequences. Of course, for use in our music. true methodof re-recording the I realise that he uses vast Youdon'tindicate the soecific device's outputs. amounts of pro gear. What I modelof yourrecorder and, patchthe thinginto Simply need is to be able to rccord depending on whatit is,it mieht yourmixer or audiointedace, a looping sequenceand then
I,r1. ':

another one that keeps in time with the first, and then a drum loop that does the sam thing. I'm using Fruitld-oops because I like its layout and options, but maybe there's a VST plug-in out there that can do this for me. Paul Mclntfe.


ill 5trNAR il 7

' No wonder Sony MiniDisc files can struggle to make the transition into Sonar - look at the size of the thins!

yourquestion, From it seemsthat you wantto playMlDlpaftsin realtim: looping and layering themon the fly.There are a few approaches you couldtake to this end.lf you patterns wantto use sequenced that you've defined aheadof time,you could use EnergyCM, EnerS/Pro or even EnergrXl. lf you wantto loop real-time l\4lDl pedormances thenyourchorces are somewhat limited. Youcould of course, useAbleton Live, whicyou to capture enables both MID and audioloops whileplaying. li you wantto stickwith FLStudio, you couldusea plug-in such as MidiZoid Looper. Thetrouote is thatFLStudio doesn't allow you to patch an effectbeforean instrument, but you can work around thisby using a modular plug-in such as EnergyXf. This application allowsyou to string together various devices and plug-ins as you like, and it can b: utilised inside FLStudio. Whenit comes to nailing that classic JMJ sound, as you've rightly determined, the heartof Jarre's soundliesin hisclever use of sequencing. A driving tripletis oftenthe basisfor hrs pulsing rhythms, whichare usually subjected to copious amounts of synchronised echoes. Whencombined witha

ro+| covrurrR MUsIc August 2007

advice nxpert lq&a

Ltveloopingin EnergyXT

I[ We want to loop differentinstrumentsin real time Forthis.we're usinglorgen fr from a MlDl controller. Open it and "& Aase'sEnerS/Xf( Patcher module, with whichwe can assign installa lvllDl differentkey rangesto any of eight MlDl outputs.Let's assignthe bottomfew octavesto a separateoutput. ))

Call up Energyclvl and patch it from the first output We'llbe Let'sadd a delayplug-in. ot the Patcher. J f,r adding more instruments, so open a Mixer.Patch to EnerryClvl to the delayand lvlixe(and routethe lvlixer the MasterOut.In EnerryCM, create a triplet patternby settingthe step count to 6. Use 1/8th notes. )) il

tl { rf

Lefs use MidiZoidLooperfrom Youcan definethe loop lengthand it'll syncto the host'stempo. Launchit and patch it from the

machine. to a ClVl-505 drum of thePatcher second output withBigTick's Cheeze We've repeated the process theouts to thel\4ixer. Machine. Send

popping rhythm synthetic, track chorused chord and heavily progressions, such sequences ticketto the can be a one-way of outerspace... deepreaches yourlocal or,at the veryleast, NewAgebookshop. the key is As we'vesuggested, (three equally to usetripletfigures spacednotesper beat)and lots delay. Thiswill of synchronized giveyou that galloping rhythm heardin trackssuch as Oxygene. triadsfor Port2. Useminor-key yet mellowmood. that mysterious Another keyfeature of Jarre's was his useof ancient sound generators. Thesedrum rhythm produced machines sounds via analogue synthesis and quitelimited. weresonically thesetabulous Nevertheless, hadcharacter in machines Ourown abundance. is an excellent sourceof CM-505 percussion. synthesized Finally, try uslnga dedicated such as Big string synthesizer Machine for the Tlck's Cheeze pads.Slather on lotsof string and/orphasing :ilck chorusing :nd thenpileon the delay - preferably usinga delay for filtering, :'ocessorthat offers :'rly retro tape-style echoes. Seeabovefor a shoft :-rorialthat we'veput together to giveyou a -.sng Energyxf the ,.'rpingoff point.Light -:ense,fireup thatlavalamp '-d getsequencing!

Over the last couple of years IVe considercd finally getting myself a pair of active monitors, but still haven't decided which ones to get, nor have I decided whether it'll actually be worthwhile. As it is, I'm monitoring through a pair of AKG K24O headphonesor my old hi-fi set up. The reason I'm doubting the actual wofth is that I'm suffering ftom a hearing-impaired left ear. My right ear is basically normal. Is it worth spending money on a pair of active speakers, even with my hearing issue? What difference would it make buying cheaper monitors, or would I be better off getting expensive gear to compensate for my bad hearing? Daniel OR Youneed not fret, you're not alone. Daniel, There are a good many hearing-impaired musicians and engineers, some of them quite well-known. World-renowned comDoser and sonicsculotor David Torn, who has worked withthe likesof JeffBeckand lvladonna, and whosemusic can be heard on suchfilmsas FridoyNightLrghtsand The Order, yoursituation. shares

To staft,we always recommend against depending Evenmore on headphones. so givenyourpafticular plight. Headphones simply an accurate do not provide representation of musical frequencies, in frequencies. Bass paftlcular, require that a certain By amount of air be pushed. problems may using headphones, go unheard those simplybecause tiny speakers can'tmoveenough air to reflect what'shappening in your in yourmix.Furthermore, means case, using headphones one thatyou'll onlybe hearing side of the stereospectrum. you to choose Thatleaves between usingyour hi{i or getting we'd some monitors. Dedicated suggest both,actually. studiomonitors are engineered to provide a clear, unsullied

of yoursound,No representation great fuss,no hype. 0f course, don'tcome studiomonitors cheap.but evenlessexpensive a sonic monitors will present picture that'snot comingacross speakers. on your homestereo it'salways We say both because a good ideato checkyour mixes playback systems to on multiple well to ensure that theytranslate othermediums. We'dventure to say that,given yourimpairment, and accurate is even monitoring dependable morecrucialfor you.The more you get and betterinformation the more fromyour monitors, you'llhaveto workwith. It mightbe a good ideato on the use some kindof plug-in master bus to flip the stereo to doingso nowand again ensure thatyourmix is balanced."

{ Studio monitoB are a must for serious mlxing - headphones iust won't cut it

MU5IC 2007C0MPUTER August | 105

q&aI expert advice

. Device dilemma
lpurchasedaSamson USB CO3U condenser microphone, but I can't figurc out how to set it up within Gubase SL3 to enable me to rccord. I have a Delta 44 soundcard and Wndows XF SP2. I can get it to wor* withln Windows as a micrcphone but cant do the same in Gubase. lte scourcd the internet but wlth no success. I thought it was plug and play. lve downloaded the latest drivers for Delta 44 and updated Slj], but still no luck Can you help a frustrated musician? Steve Jones . Unfortunately, many applications don'tsupport the use of multiple simultaneous audiodevices. Cubase is,sorry to say,among thosethat don't.On a Windows you machine, Cubase forces to choosewhichaudiodevice you wantto use at any given multiple inputs supports and outputs, but annoyingly not multiple audiointerfaces. Mac usershaveit a littleeasier, as they can createan aggregate device, combining one or moreintedaces intoa single, monolithic device. Thisisn'tto saythatyou can'tuse bothyour DelIa44 andyourUSBmicrophone - you just can'tuse them both at once,Fortunately, switching betlveen audiodevices isn'tall that difficult, but this isn'tgoing to helpyou if you wantto record yourmic and your through soundcard simultaneously.

Follow thesestepsto select your microphone in Cubase: Go to Device Setupand then locate VSTAudiobay on the left side of the pop-up window. On the rightyou'llsee a pop-upmenu labelled MasterASIODriver. Your USB C03Umicroohone should be amongthe listof available options. Selectit,then clickApply and return to the mainwindow. Create a Monoaudiotrackand selectyour microphone as the inputin the Track Inspector. When you wantto resume recording withthe Deltasoundcard reoeat the process, selecting the Delta as the Master ASl0Driver.
\ t?At

I use Gubase SX3, a Korg Triton E)Crcme keyboad and some other equipment in my home studio. Belore I got my Korg; I used an XBoad49 MlDl keyboad to prcduce my music and everything wor*ed perfectly. Cubase has been a disaster since lVe added the' Korg. When I strike ceftain keys on the keyboad, the main volume and some audio tracks on Gubase go off. The ioystick, meant to control the modulation and vibrato, contrcls the transpod panel on Cubase as well. Ite tried to configurc both the keyboard and Cubase but I haven't had any success. Could you advise me, please? Franklin

. Gettlng thls Samson USB mic to work wlth Cubase can be a testing issue

It sounds to us that your the new Korg occupies pon to whichyour lvllDl is assigned as a Remote XBoard Device. Go to Device Setup {in Devices) and lookin the column alongthe leftto see if yourold is amongthe Remote controller lf so,click on it to open Devices. it in the Device Setupwindow. Arethe MlDlinputsand outputs stillassigned to the same MlDl as yourold controller? interface to the Or aretheyassigned intedace to whichyour Korgis lf so,you'llneedto connected? Youmightalso changethe port. wantto makesureyour MlDl

portsare appropriately Iabelled windowto the MlDlSystem further confusion.

Where to start?
For years lle been itching to get anto making music on my computer, but having had a few bad experiences, I was hoping you could point me in the right dircction. I have access to both a fairly powerful PG and an eMac G4, so the question is what software and hardwarc

you rccommend that would

cover my main

I needsto be easyto use,

good enough to be a studio, gearcd towards electrc/techno/acid/house/ breakbeat, and also be able to make trip-hop, rccord audio and suppoft extemal hardware. I tded CakewalKs Sonar Home Studio 4. which I too complicated, despite the guide book and tutorials. On a mone positive note lfound FL Studio 5 rcally easy to

but it didn't seemto cover my crcativeneeds.

Ite heard that Reason is rcally good but dont know if it's able to incorporate llve vocals or instruments. Ite also heard logic is very

i:;{iieri advice I q8a

Edit Create Options Conlacts

Close Save S a v e4 s . . .

XW 3{S

8tl Song Information... P u b l i s h5 o n 9 . . . Song 5elf-Contain 5eftings... lmpon MlDlFile... E x p o r tM l D l F i l e . . . lt reallyisn't difficultto lash Reasonto Logicvia p300 of your Logic ffi's explainedin detail on m1$c Monuol,but here'sa quick how-to.First, Reference They launch Logic.Onceyou'vedone that,fire up Reason. haveto be ooenedin that order.

ffift Once Reasonis running. open the projectthat you 3# want to Rewire into Logic.Rewireis a two-way - yourRewirehostand slavewill &m communication loop points functions, BPM, shareall the sametransport transport Reason's and so on. lf you pushPlayin Logic, shouldalsoengage.))

and take a look at the selecta trackin Logic, Finally, 4 find Rewireamong menu.You'll { channelselection q# the categorieslisted.and within it. many Rewire channels- we're selectingRW:MixL Onceyou've yourchannels, and you'll the transport engage assigned on that track. outputcomingthrough hearReason's

good lor Logic Express or Garagebandl. Would Sony's Acid Music Studio be another viable option? Any help would be appreciated because I'm really desperate to get stuck in but am iust floundering in a sea of confusion... Chris Sampson

wayto get your is a reasonable feetwet,and it wouldbe easy to migrateto the Proversionif and whenyou neededto. Ditto for Garageband, the surprisingly functional thatships sequencer with ilife (andall new Macs), Youarecorrect that Reason does not suppoftaudiorecording. it'sdead easyto use, Still, incredibly stableand can be application no ReWired into another there's Unfoftunately, audiotracking what that doessupport waywe can predict - this meansthat Reason products can will workfor a yourmain givenuser, runhappily alongside no matterwhatstyle and many audiosequencer, Whatone of musicthey make. for person musicians usesucha setup will find intuitive, another their productions. worthyof will viewas a torture ACID has its roots Your own Sony's himself. Torquemada production, but in loop-based of SonarHomeStudio example MlDl now offers audiorecording, Thatprogram is a casein point. for VSf and support as an introductory functionality was designed package and effects. instruments and some usersfind Ableton's Liveis another a cakewalk. However, it...well, package that mightbe woftha eitherit clickswithyou or it it had its genesis look.LikeACID, FLStudio seemsto float doesn't. your boat,though, music, in loop-based but has and we'd alsogrowninto a fully{ledged a littledeeper suggest digging with all the trimmings. DAW dismissing it, In its into it before There's no easyanswerhere. Fruityloops, it earlierincarnation, and Every musician is different that lackedmanyof the features but the whatwe like mightnot butter status, wouldgrantit DAW you try versions of FLStudiomeet your bread.We'd suggest current as you as manyoemoversrons all of yourstatedrequirements, clicks. can untilsomething audiorecording. including Don'tgiveup afteryourfirst Download the latestdemo and giveit a whirl. we knowmany attempt: jumped who have musicians Logicis a big,beautiful DAW from one expensive and daunting to ship Deep behemoth. to another, onlyto wind up right among some,it'sa firm favourite backwheretheystafted. LogicExpress lVlDlmusicians.

ft,i:;*smmahfim ffim
I'm trying to connect Reason to Logic via ReWire. I can hear the sounds when I'm recoding but can't hear anything in playback mode. ltried to find some suppod on the internet but was unsuccessful. Michael PoPe make Reason and Logic companions. excellent Reasonofferseasy, whileLogic intuitive sequencing, and audio allows for deepediting to want recording. lt's onlynatural via ReWire. to lashthem together It'simperative that you open onlyafteryou haveLogic Reason Afterthat,all of up and running. yourReWire willappear channels inputs to in the listof available yourLogic Assign audiotracks. you want on that the channel track and awayyou go! $ffix

Y The latest FL Studlo will easily meet all of your creatlve needs

>HERES IHE I'EAL.. pagesare hereto help our prcblem-soMng you wlth any computer music technlcal issues' you We'lltell the best way to frx your dllemma the besttoolsfor the job. and rccommend conciseand to the Keepyourquestions point,and stickto Justa coupleof prcblems And don't slncewe onlyhavelimltedspace. forgetto includeas manydetailsas you can aboutyoursetup. to a specificploduct, lf yourqueryrelates !,ou'le best ofi contactlngthe manuhcturcr, dlsubutor or retallerfirst, as theyll have morc in-depthknowledgeabout the gear in question. suppoft aretherewlll be a technical Chances llneyou can call,too. to: Send)our questlons CompubrMuslc Q8,4, 30 Monmouth Strcet, Bath BAI 2BW or'uk

MUSIC 2007C0MPUTER August | 107

g5.afocus advice Iexpert


thrs which problems, production outwiththerrmusic fourreaders Wehelp tasteto them... synthesizer-based have a distinctly month

to makeleadslike those Howdo I useReaktor cheshire uses?c Gibson, that producerRe-Con

FILES TUTORIAL findthe filesfor this You'll in the month'sQ&AFocus TutorialFilesfolder

The sound you'relookingfor is one of the most in moderndancemusic, and popular I ubiquitous lt's made by * croppingup in all sorts of sub-genres. stackingup a bunch of slightlydetunedsaMooth waves. allow for such antics right out of the lvlanysynthesizers box,and you can find iust such an instrumentincluded - it's called Junatikll. >) with Realdor I

lunatik ll is an Ensemblepattemedafter the Roland one ofthe most popularhardware luno synthesizer, J L synthsamong dance only offersa and while that might seem a bit skimpy singleoscillator, of a triple-sawtooth for a big unison lead,the availability waveformensuresthat it has plentyof bite.Call up the Kirmes Snapshotand have a PlaY.>> -l

As you can plainlyhear,many of the characteristics presetand it { we need are alreadyin place with this may verywell be close enoughfor your needsfrom d to we can make a few adiustments the off. However, nudge it into shape.You'llnotice that there are buttons that and deactivating under each waveformfor activating the Pulse wave' > wave - deactivate t


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6,eUA&* oO r tr r '

Losing that waveformdiminishedthe powerof the sound,so let's fix that by crankingup the 3-Saw I wave'sVolume.As you can see,the waveformin Ne)d, the displaychangesto reflectyour adlustments. activatethe plain ol' Saw wave dnd give its Volume a boosl too. Playa few notesto hear your handiwork.>> /l {J

lhe upper notes havesome seriousmodulation F *l issues.There'san LFOmodulatingthe pulse width of Click on the Man button at the top rJ our waveform. This that LFO. left corner of the VCOsectionto deactivate pulse width modulationto manualcontlol.Playa reassigns few notes on your MlDl keyboard- that's better! >

filter at the top-right Notethat there'sa high-pass corner of the GUI- adjustthe HPFsliderto for those sharp dance filters off the low frequencies leads.Youcan also fine-tunethe amount of chorus being applied in the FXsection usingthe Chts and Depth controls.Maybefine-tunethe filter Cutoff and Res too.

August 2007 MUSIC 110I CoMPUTER

l)iiiSii ;li.l'lr



Pitchbend ucF uco . ' r - r o fl


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Save l n s t r u m e nA t s... 5Iructure Window Structure Prope rties sEh As you can see,this Ensembleconsistsof a few That -ap parts.The main bit is the Junatik instrument. module,which in turn is ffim feeds into a StereoTDelay the sizeof lncrease to the AudioOut module. oatched your windowand movethe bits about to giveyourself plentyof elbow room.Clickon the wire that connects Junatikto the Delayto select and delete it. .., What we're goingto do is createa copy of our the powerof in orderto increase S lunatikinstrument our unisonpatch.Clickon the title bar at the boftom # Right-click moduleto selectit (it'llturn red). of the Junatik You and selectDuplicate. to bringup a menuof functions with the same complete now havea copyof the original, parametersettings. ., sq




lf you want to create an even can { layertwo or morecopiesof yourJunatik r.+!b on the fifth icon from the left at the top of your Structure Ensemble to ooen up the Ensemble's Junatik components window in whichyou can see the various . that make up your Ensemble.

Analyzersand Orsplayt Effect9 5 a v e E n s e m b l ea s . . -

In9emble Piopernes

Recorderr+Players 5afrple T.anslormer S e q u e n c e dS y n I b e s i z e r Srquen(ers 50und Cenerilors Sutround Uiil(ies Synihsi2ers

New - 2rnzout

_{e The signalsneed to be combined beforewe send In a hardware studiothis oS*"r to the outputs. a mixer. them through d wouldbe done by patching usinga Exactly the samethingcan be done in Reaktor in an empty part of your mixer.Right-click ready-made StructureWindowand then select Insert InstrumentD MixeDMixer 4Ch.

This ffiw Let'sconnectthe Junatikmodulesto the Mixer. and dragging on the connections ffi is done by clicking the L Connect avfr cablesfrom one moduleto another. and output from the first Junatikto input 1 of the lvlixer, L the secondJunatiKs the R outputto input2. Connect outputto input3 and its R outputto input4. l

but the delay. dtq We could run the wholelot through S#$ since the lVixeris fully equippedwith effectssends i*# anOreturns, for more we'llconnectit accordingly Youmight need to movethings about a little to flexibility. module the StereoTDelay make more room.Disconnect from the Audio Out module. :',

-*-tT:{r ryti fl- trHII T; Hll 3i


*ll #



fi E

i Chrs

rI TIIT ill
-IF II H 5l[
rlffiElConnectthe Mixer to the Audio Out module by dragginga wire from the lvlixe/sL and R outputsto ,,;.{li on the AudioOut t inputsI and 2 respectively to module.Next,connectthe first send,S1 on the Mixer, module,and - you the L input on the StereoTDelay guessed it the othersendfromthe Mixerto the R input on the delav ''



HII H d5 ll E5 fri ll e
I I i.4ute

dryfi Ne}t, scroll down to your two Junatikinstruments. id Adjustthe Tuneknobfor the firstone to -0.3'and to 0.3 - they're "# the Tuneknobof the otherJunatik now detuned.Playa note or two to hear this monster's prettyhuge!lf you like,you can add a bit of the Send and Ret knobsin the Mixer. delayby adjusting


ry ll n




Mute L

L and R outputs *q Now patch the StereoTDelays That'sit respectively to RlL and RlR on the lvlixer. ffi er$ for the Structurewindow.As you can see.the Mixer window Bringup all of the channel in the Panel appears faders,alongwith the masterfader.Alternatethe channel pan positions: set the Panson 1 and 3 hardleft,and the Panson 2 and 4 hard right. :'r

MUSIC 2007C0MPUTER Ausust I lfl

o & af o e u s i ' ' , : i : " '

that rawsynthsound that's fl nowcanI produce }vales of hardhouse? Shaun,South { the trademark
PAD-DefaulFFa<tory PAD-An4omedae-Rl KEY-SextantRl I . KEY-stutttr-Rl KEY-vibrasquare-Rl KEY-vitotion-RJ KEY-Xhd{J KEY-5trjn9rLD( KEY-rhTh[drRJ BA5'nvB6seRl BA'F.tNtsiqhFRJ sFz ToxicIII PAO-PMPEz-lDC PAO-5pde{OC BAs-PuthLJp-Rl BAs-RiEPi@rRJ @6pde@ Crvrtal KEY-Bright5FBdLLOC KEv-5imple&[LE KEY'WaVy&SIDC KEY-ExpbftgChip{Dc KEY-Fatt.f&[LX KEY-BabySd-1rc BA5-IO1'RJ 8As-Simple'Rl BAs-sdkma-RJ BA5-steelEdqed-RJ EAttrack-RJ BA5-Hmvaq-RJ BA5-Hr*aRJ I 845-tudanuDc BA5-Bom{DC IED-EVoLDC LElFmkyclunk{r LED-GetRc.dy-Lr LED'Heryrudl{X

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PAD-Bellatrts-RJ PAD-Eeta'RJ PAD-Carriop.ia-Rl PAO-DelphiniRl

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LED-HodvyildM{E LED-HaffidPmdlU LElH.mffidlE LED-Tranco*{N LED-Maion6ve-OC LED-Minonile{x LED-5impleMono-DC Lm-Ms*6rDom7-E LED-Ca &qRdvin'U{OC LED-5i@hgRdd-LX LED-5yncLead{DC LEo"DditdF@lrE LO-wackyWoHe{X LED.356wL6dRJ

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FL studio 6Ii (Multi) FL studioWTi

We'vealreadycoveredmakinga typical'big saws' so this time we'll take a I dance sound with ReaKor, {r differentapproachto creatinga hard-hitting sound. Usingreadily-available freewareand the demo of Xlutop's (, Chainer we'll createa huge sampled soundthat can be usedin any sampler. We've opened Chainer in standalone mode. > il

Chainerenablesyou to combine multiple instruments and effectsfor a complexsound.When J you havesomethingyou can exportone or l: more samplesto be used in other applications. Eventhe demo versioncan do this - very cool. Clickon the arrow in We're the top-mostslot to availyourselfof your plug-ins. goingto use the CM Studio'svery own Dominatorsynth. )}


Dominatorcomes with a wealth of killer presets, so let's use one of them as a staning point.Openthe presetKEY-Vlntage2-]DC J and play a few notesfiu your MlDl contrcllerThafs a prettybig sound in the clG style,but not quite big enoughfor hard house! )) ii {

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,rl SelectSaw wavesfor each of the three oscillators. nolrta,n" coarse tuningof eachso that theyall 4J a havea value of 0. Next.adjust the Fine tuning of oscillatorB so that it readsaround-3.600.Set the Fine tune of oscillator C to about3.600, Thisis thickening up the sound nicely. >)




Let'sturn to the Mixersection.Crankup all three F oscillators- A, B and C. Now,set the A slider $ # of the Amp to 0 for a hard-hitting start to the {Attack) note.Set the D (Decay) to aboutO.72O and turn S (Sustainl push the R (Release) all the way down. Finally, time uDto around0.005. >

B is inactiveanyway). Nowtum to FilterA (Filter F Shovethe Cutoff valueall the way up so that it's Itl lJ wide ooen. and set the EnvAmt to O.Nowwe har a prettybig,fiat-outsound.we save our patch as an .fxp Youcan find the preset file, Detunedsaws.fxp. functionsin the Presets menu at the uppe management right comer of Chaine/s inteface. >


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FtFl ||rI Adjustthe volume of each channelso that it doesn't peak the meters,and pan them all to different fi positionsin the's time to export lJ a sample,so choose FilerrExportGivethe sound a name, select a folder and set Hold lmsl to 4000. Selectthe notes you want on the keyboad and click Expot ))

Loadthe /7 second and third slots of Chainer. patch into each of them. Openthe J Detunedsaws.fxp second Dominatorand set the Coarsetuning of each oscillatorto -12,then set the Coarsetuning of the third Dominato/soscillators to +12. >

Open up two more instancesof Dominatorin the

Next,load the sample into your samplerof choice' lt ours is Highlife.We tum on the BR filter,tweak the tl |, Cutoff to taste and engagethe Datt Chorus and synth Rock Da Disco effects.Our seemingly'traditional' sound has been transformedinto somethingmuch hard but without losingthat raw edge.Perfect!

1I2 | C0MPUTER MUSIC August 2007

advice expert lq&a focus

'guitar-style' synthleadsounds? make I How do fl

{ LasVegas JamesWalsey,
to show we've chosen Though you howto emulate a guitar leadusingold-fashioned synthesis, analogue-subtractive there are plentyof othertypes you can useto of instruments First, and obtaingoodresults. aresamples. mostobviously, withfree Thenet is crawling multisamples and commercial froma derived and soundfonts These wide varietyof guitars. samples can be fine,though let downby aresometimes staticnature. theirinherently on modelling, Physical is a method the otherhand, to designed of synthesis of a the variables emulate lt's worth realinstrument. that one of the very noting was algorithms firstmodelling a plucked to simulate created Physical modelling string. mathematical usescomolex a sound to create algorithms performers. thatwill satisfy playing a good However, guitar physically via modelled as oftenrequires a keyboard to as learning muchpractice master the realthing! the realism Nevertheless, model of a goodmathematical Modelled can be astonishing. guitarsoftenoffercontrolover plectrum stiffness, the sizeand strings and shapeof the body, of eventhe typeand Position Someof them, the pickups. Revitar such as Cutterlvlusic's { products,htm), evenoffer simulators. strumming built-in

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When it comes to emulatinga screaminglead guitar,etfects processing it's alwaysadvisable to stan is key.Nevertheless, our very Fortunately, * with a good tone from your synthesizer. (onthe DVD) is burstingwith awesomesounds.Here, own AlphaCM we've openedit in Sonar6's SynthRack Youcan use any host you like,of course. >) I I

AlphaCMalreadyhas a soundthat emulatesan 8os-stylesynth guita,patch,in the form of the presetKEY'SynGuit-TEG. lf Lr However, ideallywe want to giveour effectsmore to grab hold will suit our ol so let's use a more complexpatch.tID-CryoG-TEG purposesmuch better.Start by reducingthe FilterenvelopeDec (decay) to almost 0. )) al

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so without externalprocessing, Guitarsdon't sustaininfinitely off and push the Dec Sust {sustain) shut the Amp envelope's I {decay) all the way up. lt doesn'tsound much like a shredding guitar lead yet, does it? No matter:the idea is to giveour effects around. processors to wrapthemselves somerich harmonics t {J

'prog rock" so switch the Glide The portamentois a bit too on the Amp tun.iion Off.Next,reducethe Rel kelease) Playa tew notesand adjust it to somethingthat suits envelope. J you - we like it short.Set the polyphony to six voices- one per string- in case you want to knock out a chord or two. }}

is at the heart of everygreatguitar lead,so Distortion etfect.Therecan be few I lefs start with a waveshaper which comes free on * betterthan CM WaveShaper, the DVDeverymonth.Open it up as an effectsinserton AlphacM'saudio channeland adiust the Waveshape/s crunchysound. > curve until you get an appropriately !

Let'sdrop in the TubeScreamerplug-inthat comes Q with GuitarSuiteCM,also on the disc - this ir ) a fr modelfedon the real lbanezTubeScreamer, pedal. and crankup Openthe plug-in famousstompbox the Gain and Tone until you havea nasty,resonantbite. the pitchbendwheelto bend the notes. > Tryemploying

pile on some more guitar-centric efiects Finally, which can be We'vealwaysbeen keen on wah-wah, Audio'sfunkarifficClassic by Kjaerhus represented J plug-in,since wah-wahreallyis iust a low-pass Auto-Filter filter effect.Usethe Wah-wahpresetand tweak it to taste. echoes. Slatheron a bit of delayfor those Gilmour-esque q {


Howdo I layerup drumsounds in DS-404 to make my own customones?Rfch Avrams, Montreal

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Thereare lotsof waysto createinteresting drum sounds, and layering existing onesjs a good placeto stad.There are loads of dedicated drum synthesizers out there,but why not use our veryown DS-404 (onthe DVD) sampler to stackup beat uoon beat? Here, we'veopenedan instance ol this powedul plugin Sonart,.

Youmightalready haveptenty of DS-404 drum kits lyingabour, but if not,you can loadup a kit that we'vemadefor you.Click on the L buftonin the djsplay to importa patch.Locate the patchcalledSmallKitand loadjt up. Don,t worryjf you clickthe Multi L by accident, as DS-404 can tell the difference between patches and multisand respond accordingly.

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P l a ys o m e n o t e s o n \ o L t r \ 4 l D l c o n t r o l l e r to famjliarise yoursell with the sounds on offer Al the samples are mapped to the first octave. BecaLtsethe DS-404 is such a poweful sampler, w e c a n a l t e r t h e s o u n d s l g n i f i c a n t yw i t h o u t e v e r l e a v i n gt h e g l o b a l level.Give the Transpose knob a hlist and play your sounds.



Return the Transpose knob backto the centreposition. trp In the display area,dragon the numberto the left of the patch nameto llringup O2:O2 Patch2. Loadthe SmallKit .404 patchintothis slot as well.Youwon'tbe ableto hearit, sinceby defaultit's assigned to lvllDl channel 2. We'llchange that next,..

W h i l el a y e r i n g s o u n d sc a n g i v ey o u s o m e f l e x i b i l i t w y hen p u n r n g0 o w n y o u r g r o o v e s , dont overlook t h e p o w e ro f pg lug-ins I our efferts-processin t o n \ e a hy o u r d r u m s a m p l e s b e y o n dr e c o g n i t i o n . ack in B t h e e a r l yd a y s o f s a m p l e b a s e dd r u m m a c h i n e s i,t w a s c o m m o n p r a c t i c et o s e n d d r u m s o u n d st h r o u g h fuzzboxes, compressors a n d r e v e r bt o m a x i m i s e the s o u n d f r o r r t h e l i m i t e dp a l e t t e immediately on offer, O n e g r e a tw a y t o w h i p u p n e w d r u m s o u n d st h e s e daysis to put them through a s y n t h e s i z etr hat processes e x t e r n as l i g n a l sB . y employing ringmodulation or frequency modulation you can create entirely n e w t i m b r e st h a t run the gamut from subtly e n h a n c e dt o t o t a l l yc h a o t i c . . . R i n gm o d u l a t i o n combines t w o i n c o m i n gs i g n a l s b , ut p r o d u c e so n l y t h e s u m a n d the differenceat the output. I t ' s i d e a lf o r m e t a l l i c - s o u n d i n g percussion.Frequency modulation i s a p o p u l a re f f e c t a m o n gs y n t h e s i s t s and is s i m i l a rt o r i n g m o d u l a t i o nA .n F M s y n t h e s i z eu r sesone signal t o m o d u l a t et h e f r e q u e n c y o f a n o t h e ra n d , l i k e r i n g m o d u l a t i o ni,s a g o o d t o o l f o r m a k i n gm e t a l l i cs o u n d s . G r e e nO a k ' sC r y s t a il s a n e x c e l l e ne t x a m p l eo f a s a m p l e rt h a t a l l o w sf o r FM processing of samples - s p e c i ifc a l l y S , oundFonts.



\/=T q tr dFI F

NoWclickon the DS-404's F4 Function buttonto bringup the mixer. There are 16 sliders, each assigned to a different l\4lDl channel. Scroll across whereit reads02 abovethe secondslideron the top row. Set it to 01 insteacl. NoWclick on the highlightecl E nextto Multi 1 in the display to saveyourwork.

Let'sedit our secondpatch. Transpose it clown six semitones. Clickthe Hp24 buttonto activate the sweethigh-pass filter. and set the Cut (cutoff) to threeo'clockand the Res(resonance) to 11 o'clock. Next, locatethe Ecfvlodknob underthe Cut knoband set it to -189ii. Playthe drumsto hearhowthevsound. Finally, activate the velocity sensitivity of boththe filterand amp envelopes by clicking on the Dmod knobsand adjusting the Depthparameters. Adjust the EG1and EG2 seftings as shownhere. As you can hear, our secondkit is louderat higher velocities, so the overall tone changes with the velocity.

114I C0MPUTER MUSIC Ausust 2007

Simulanalog GuitarSuiteCM Shuriken Berrtilt

lmage-LineDeckadance MixUp Spacehead DevineMachineKrishnaSynth SugarBytes Unique 0hm Force0hmicide Mackie Tracktion 3 IK Multimedia AmpliTube limi Hendnx Edition

p51 TheEasy Guide p56 PianoPower p62 SynthEssentials TheCMGuide to Melodic Electronica p66 p72 OfftheDial pl10 Focus Q&A p118 SynthMaker CM

902Loopmasters vs PowerFX samples 162424-Bit DnB samples

TheUltimate Guide to Drumn Bass Like... ThePolice Sound Extreme Guitar P24 p38 p44

bof! - Connardessette DJCaine - Junky Mutha - I Love You The KennyRobotExperience ThirdTemple - Robotizet Awake

VST-compatible audio and l.4lDI sequencer

Specialcm versionof FL Studio'svocoder

cm's origrnalPCand Mac OS9sequencer

Step sequencing analogue-style synth

PowerfulMac audio editor and plug-inhost


Wild stompbox-esque modulationeffect

The full Wusikstationsamplingsynth!


Semi-modular feedbackdelay-based multi-effects plug-in


Loopmanipulation takento extremesl

A fulsome analogue styleVSTsynth

Flexiblewaveshaping distortion effect from the makers of FLStudio

16-pad VSTdrummachine

Feature-packed versionof Kotkas'sampler LINPLUG ALPHACM Subtractiveanaloguesynth with hightyflexible mod matrix

Roland TB-303 Stunning enrlation pl-g in

Powerful16-part multitimbraL VSTsampler

Gloriously authenticvirtual analoguesynth

Analoguedrum synthesismadeeasy

Beautifulsynth with semi-modular effects


VSTfilter Crazyresonant/comb


Incrediblemultieffects plug-inthat uses convolutiontechniquesto emulate classicgear


SID-emulating VSTifor classicC64 sounds


Quick,dirty yet satisfying distortion

Vintage tones from this authentic organ


Phat single-oscitlator analoguesynth

Createyour own VSTsynthsand effects with this proSram amazrnS

Authentic spring reverbeffect

INSTALLING PROGRAMSAND PLUG-INS l\,,lost ollhe prcgramson the D\D-RoMare presented as installeF. Youjust double-cllck on icon and the application the inslaller does the rest.Howeveisome fles a VSf plug-infiles, and reauiE a VSf host apolimtionto run. just copy the plug-inile {on the PCthis is a DLL To plug in' the plug-in, filei into your host's \51 plugjns iolder

SAMPLES samplesl Everymonth we give you a wealth ol royalty-free even Youn use them io your musjc in any way you see it, withouthavingto pay a penny, releasingyour work lle only thing you cant do is redistibute if you end up commercially by makjnga sample CD with them. them as samples for example, To installthe samples, simplycopy them to your had driv.

dvd contents lonthe dvd

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DECKADANCEand will allow you to recordmixeson IMAGE.UNE

IPC] Djing is hereto stay, andthis Digital fromFLStudio slicknewsoftware lmage-Line the artto takes creators built-in withVSIIhosting newheights andtheability to usea sampling control formats, variety of timecoded andFinal Scratch. lf including Serato for airbrushed, it'sgoodenough babes it'sgoodenough swimsuit-clad two minutes thisdemo for us!Every will playnoise instead of the version output. conect SY!'IEM REQUIREMENNi lll or equivalent CPU, FC:Pentium RAM, Windows 2000iXPl/ista 512M8
the fly.Line-inand mic support meansyou can recordyour own vocalin realtime,and VSf plug-in effectscan be used while recording In this free versionsome of the save optionshave been disabled. SYSTEMREQUIREMENTS PG:PentiumCPU, WindowsXP


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. ohmtctde - h even looks gullty lusi lltdng fte#; doish't lt?

r:-.. SYSTEM REQTTIREUENTS or better, 5l2MB PC:lGHzPentium XP MM, Windows MM, Mac:lGHzG4or better,5l2MB F0RCE later OHM OHMICIDE 0S X 10.4.8 or rpuvncr The legendary Ohm Forcereturnwith www.mackle,com

anotherplug-in that takessignal processing to a whole new and twisted level.Ohmicidepicks up where Predatohm left off,enabling you to splitthe inputsignalinto four bandsthat can be prccessed Throwin cool features BYIES UNIQUE SUGAR lpcnqnctindependently. is yetanother virtual like loadsof distortion algorithms and Unique in big and you'vegot instrument thatspecialises dynamicsprocessing treat a recipefor aural anarchy. These sounds, butthissweet analogue Bytes also demoversions aretimelimitedand fromGermany's Sugar in vocal-style don't offer MlDl support. doeS a nicesideline


IPt/MAt] Let'sface it: if the late,greatJimi was alivetoday he'd be far Hendrix folder his plug-in too busymanaging to actuallypick up a guitar,never mind set fire to it or play it with his

teeth.Now you can celebratethe man's awesomework with this sounding collection of authentic guitar pedals,amps and effectsthat the sounds of the swinging60s revive - and, to a certainextent the 70s. and will Thisdemo is time-limited startto emit noise afterthe ten-day periodis up. evaluation SYSIEM REQUIREMEiTTS FC: lGHz Pentium, 512M8MM, XP Windows 512MB Mac: 866MHzG4 processor, RAM, OSX 10.4or later

filter sounds thanks to itsvowel mode. lt alsohasmoretraditional filters, eachof whichcanbe in a variety modulated of interesting saving wap. Inthisdemovercion, audioare settings andexporting andit needs a restart after disabled, 30 minutes of use. REQUIREMENTS SYSTEM CPU,512M8 RAM, PC:1.6GHz XBVSIhost Windows CPU, 512M8RAM, OSX Maq 1.6GHz host VSVAU

SYSTEMREQUIREMENTS PC:Pentium lll,256M8 RAM, Windows98/Me/NT4/200010. VSI host Mac: PPC G4.256M8 RAM. OSX 10.3 or later,VSI/AUhost


It'sthe return of the Mackie! Thecult Tracktion software is ready for itsthird outing andthistimeit'sgot timestretching andpitchshifting, a loopbrowser andloads of bundled instruments TracKion andsounds. 3 whofind MIXUP is popular withmusicians SPACEHEAD tpcl menus and Mixuo to fourtracksof MP3andWAV theover-complicated yourownmixes filesto create or interfaces of othersequencers a - noneof thathere. This loops. Mixup canbe headache sample fewseconds. to suityourmixing style demoplays noise every configured

^ Trackdon 3 possss3es none of the meaty menus of olfier DAWS


CM SynthMaker
ynthMakerCM is an amazing piece of softwarefor Windows you to create that enables your own fully-working effects and instruments,either in VSTformat or as for use with your DAW, programs. stand-alone independent, Lastmonthwe kickedthingsoff bY synth a simpletvvo-oscillator creating filterthat could be with a multimode Thismonth by an LFO. modulated into a simple we'll refineour creation synthwith workhorse but usable a basicefiectssection, Pitchbend interfaceln and an improved ability we'llalsoshowYouhow to addition, so that you exponthe final instrument can use it in your own Projects. Don'tworryif you missedlast - the software you tutorial month's on the discin the needis included and all the files CM Studio directory, you needare locatedin the Tutorial folder. Files/SynthMakerCM

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P.osmf rom the /futorials/ LoadClubStrawberryWl Thissynthis fully folderon the DVD. SynthMakercM the Control labels. Select but missing functional buttonfromthe Filterbar - this is the columnof buttons Doing this meansthat side of the screen. on the left-hand will be shownin the Toolbox components onlvControl

the vSIi panelto edit the vSIi shell. Double-click Next,drag the Label button from the Toolbox the Label Right-click Window. onto the Schematic windowand selectShow in the Schematic comoonent Properties.Now click in the Label field to changethe text 'oscillatorl'. so that it reads

an to the top view eitherdouble-click To return Windowor clickthe emptyspacein the Schematic To edit the Window. Top panelabovethe Schematic panel,selectit, then clickthe lock icon in the panel VSTI as labelinto position, Movethe Oscillatorl that appears. we have here.




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Clipcomponents and Stereo the Combiner Locate the lasttwo steps,addingthe labels Reoeat 'Oscillator panel screen of the the top you at VST| drag the can Modulation','Amplitude 2','FilteC,'Cutoff component Chorus to scrollaroundit. Draga Stereo then movethem into and'Effects', lvlodulation' the Windowand connectit between ontothe Schematic positions, Nowwe needsome as shown. appropriate the connectors' Clio. To remove Combiner and Stereo effects- select Effectfrom the FilterBar and double-click right-clickand select Delete Link. the vsTi componentto edit it.

Notethat you can changethe effects'settingsfrom after the StereoChorus, this window.Add a Reverb connectingthem as shown Now returnto the Top and dragthe is unlocked vieu makesurethe intedace Chorusand Reverbpanels overto the blank Effectsarea. Youcan turn each effect on and off with its own switch.

2007 August MUSIC It8 | CoMPUTER

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Our synth is staningto sound prettygood, but Let'sremedythis: it lacks a couple of features. we'llstartby addingpitchbend. Thisis a bit more than whatwe'velookedat so far Select complicated panelabovethe Schematic window, and type the VSTi 'module' into the search fieldabovethe toolbar. Dragthe lvlodule component into the schematic Window.

A moduleacts as a container for othercomoonents goingto use it to keepall the uglymathsout We're of the main VSI| edit window.Oncewe'vecreated this oitchbend module. we can saveit out and use it in futuresynths. Double-click the smallgreyModuleblob to enterit. Dragthe ModuleInput component fromthe Toolbar intothe Schematic

Type'pitch'into the Search field.Dragthe lvllDl Pitch fromthe Toolbar ontothe Schematic comoonent window. Connect the ModuleInputto the PBend. We'regoingto ThePBendmodulehas a rangeof 0-16384. Type'divide' intothe Toolbar search convert this to -1-1. moduleontothe Schematic. fieldand dragthe FloatDivide Connect the PBendoutputto the top input.






Clickthe Elementbutton on the ElitendedFilterBar. (Developer lvlodemust be turned on for this to be visible- the DeveloperMode button sits to the top left of the Schematic Window.) Dragan Int component Windowand double-click ontothe schematic it to entera value. Enter8192 (halfof 16384), and connectit to the FloatDivide module's lowerinDut.

Thismeansthe rangeof the outputvaluewill be between0 and 2. We need it to be between-1 and 1,so draganother Int component onto the schematic and set its valueto 1. Nexttype'subtract' into the Toolbar fieldand dragthe Float search Subtract moduleonto the schematic. Connect them uDso that 1 is subtracted fromthe FloatDivide module's output.

Type'power' intothe searchbar and draga Float Connect the Power moduleonto the schematic. FloatSubtract'soutput to the Exponent{top)input ol the FloatPowerlvlodule. CreateanotherInt component, set its valueto 2 and connectit to the BaseValueinput Type'de-zippe/ into the on the FloatPower component. searchbar and dragit into the Schematic.

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Connect the FloatPower module's outDut to the de-zipper's input.Type'out'intothe searchbar and draga ModuleOut component onto the Schematic. :onnect it to the De-zippeds out.We still needto connect : rr Pitchbend component to the restof the synth. Return its window, :r the VST| by clicking and connectthe lvllDl In :: the oitchbend module's inDut.

lVlultiply Usethe searchbarto locatethe Stream Connect component and dragit ontothe Schematic. the top output from the lvllDlto Polymoduleto one of the Streaml\4ultiply's inputs,and the Pitchbend module's from outDut to the other. Delete the connectors the lvllDl to Polymoduleand the Detuner modules. Connect the Stream lvlultiplieds outputto the Detuners.

Nowwhenyou playa noteyou shouldbe ableto wheelto pitchthe audioup and use the pitchbend Thisvalueis fixed,but we can down an octave. the createa knobthat will enableus to determine pitchbend the rangefromthe frontpanel.Re-enter and a Float lvlodule, and draga Floatlvlult Pitchbend ontothe Schematic. Divide comDonent

MUSIC Auqust 2007C0MPUTER | 119


Meet youl
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with lf you'd like to enjoySynthMaker and to the codecomponents access restriction, minusthe 3000-module to one of the upgrading consider versions. 0n the commercial you can buythe website SynthMaker of the versions Personal and Full which retailfor [65 and 1125software, Bothare freefrom the limitations placedon SynthMaker CM,and if you you'llbe ableto version, buythe Full purposes. lf use it for commercial you'llneedthis you're not surewhether you can alwaysupgradelaterfd ability, theseoffersin moredetail 860. Peruse at

Connectthe output of the FloatSubtractcomponentto Createan the top input of the FloatDividecomponent. Int component, set the valueto 12 and connectit to the This dividesthe bottom inDutof the FloatDividecomponent. pitchbendrangeby !2, settingit to a singlesemitone. Connectthe FloatDivideoutout to one of the FloatMult'sinputs.

Type'knob' into the searchwindow and drag a Bitmap Knob componentinto the Schematicwindow.Connect the Knob this to the FloatMult'sother input' Right-click Moduleand selectShow Prcperties.Set the Max valueto 24' the Defaultvalueto 12 and the Steps valueto 25 - tick the 'PitchBend'. checkbox change the Labelfield to read

^ SynttMaker CM ls very cool, but lt youve got some spare wedge to splash out, you may wail to conslder upgradlngto the full veEion



One we made earlier...

what lf you'dliketo hearfor yourself soundlike CM'screations SynthMaker havea lookat our simple synthin the Tutorlal ClubStrawberry CM folderon the Flles/SynthMaker you'll find it in VSI and EXE disc.Here format. lf you'dliketo checkit out quickly, you can simply runthe EXE witha MlDl and playthe synth Tocheckit out in a VSf hosr. controller. file to yor copythe ClubStrawberry.dll yourVSf folderand launch VSI plug-ins host software.

Usethe output from the FloatMult to replacethe Float Poweis Exponentinput. Nowwe'vegot a knob that rangein semitones. us to set the pitchbend enables into the searchbar and dragthe Mono Readout Type'readout' Connectthe knob'soutput to componentonto the Schematic. its input.

Returnto the To0view and unlock the VSfi so that you can movethe interfaceelementsaround.Movethe pitchbendknob and mono readoutso that theyre more for the mono readoutdisplay visible.You'llhaveto look carefully as it's iust one number;it'll be at the top left-handcomer of the VST| interface.

lf you want to exportas a VSTinstrumentor effect, on it,then clickthe VST selectthe shellby clicking corner of the tab button at the bottom right-hand will ask that appearsat the bottom left. Synthlvlaker whetherthe projectis an instrumentor efiect,and allow you to name the exportedplug-inas you see fit.

To expoftyour instrumentor effect as a standalone program,click the EXEbutton to the right of the VST button.The exportedstandaloneprogramsenable you to select an appropriatelvllDlinput and audio driver from the menu bar,scale the interfaceto your and even run the softwarefull-screen! specifications

and effec6 exportedfrom SynthMaker Instruments Clvl/cm logo in the CM will have a Synthlvlaker corner,and you'renot allowedto bottom right-hand lf you'd like to do awaywith this use them commercially. abovefor check out Meet your SynthMoker restriction, detailson upgrading

August 2007 MUSIC rzo I covpuren

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ComputerMusictakes you where othersfearto treadas we visitfour in theirstudios, top DnBproducers and get them to show us some of the tips and trickstheyuse to make thoselarger-than-life sounds. Join Sub Focus,Logistics,Danny Byrd

and Chase& Status as theyteam up to createa mini DnBepic in over an hour of video. oroduced in parallel with this month'scover Readall aboutit on p24 feature. and checkout the finished trackin the TutorialFilesfolderon the DVD.

'Ant anODec'was the blindingly competition obvious answerin the odd-one-out

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

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

August 2007CoMPUTER MUSIC I I2r


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

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BOF! Connardessette

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

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lf you want the chance to be featuredIn Reoder $| on CD,a Mus/c, sendus an orlglnal compositlon alt photo descriptlon ol youract,an lmage{sleeve torl and your $ or logothat you ownthe copyrlght equlpment llst.And- thls ls verylmponant- make $ The best havebeenused. sureno lllegalsamples and trackswe recelve each monthwlll be revlewed on our DVD. Wellgo on,then... teatured il

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

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dulcimers and of hammered sections while underneath a berimbau, even arealways thisthedrumloops or theirpattern either changing - gates, phasing andso on. effects feeling is a little theresidual However 'stop-starty'. work of the drops Some notenough really wellbutthere's so it or establishment, development justasyou're about feels like always theflowis to turna corner Witha bit more interrupted. make a great momentum thiscould theme tune.

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

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

What the artist says:

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

August 2007 MUSIC r22 | CoMPUTER

*+ the dvd

What's wrong with mymix?

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

Francrs CerLonr

Whatthe artist says: "The track is myinterpretation of

a robotic kind of love.I worked totally within a softwarestudio (FL Studio),both to lay out and master the track."

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

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

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

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

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

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

August 2007C0MPUTER MUSIC | 123

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