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contents
Cover Producer
feature masterclass

CREATIVE

Transform any sound into gold with our

epic guide to creative processors, p22
46 sHERIdAN TONGuE
Get behind the scenes with a pro
composer/soundtracker in this
exclusive studio session and video

Free Plugin Tutorial

/experts
Your guides for the ever-expanding
world of production are here
every month to show you the way
54 TubE AMP 59 bIG ROOM
u530 CM syNTHs
76 easy guide: Check out this free tube Owen Palmer reveals his
three-note amp sim by Mercuriall top synthesis secrets
extended chords

Tutorial Interview

78 studio strategies: 80 dr beat: 67 VIRTuAL AMPs 82 GTA

combining two daws delay with drums Get to grips with the best The Miami duo give us
software guitar amplifiers their production tips

Reviews Essentials
92 spectrasonics keyscape 10 news
96 tone2 icarus 16 what’s on your drive
98 unfiltered audio sandman pro 17 burning question
99 zynaptiq adaptiverb 18 roundup
102 sound radix surfereq2 66 back issues
114 blast from the past:
PLus 17 MORE PROduCTs REVIEwEd 88 subscribe digidesign turbosynth

4 / COMPuTER MusIC / December 2016

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Read the full 1 Instant glitchy edits in 2 IDM-style stuttered 3 Twisting up a DnB beat
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4 Stacking rhythmic 5 Sinister pitchshifted 6 Vast ambient scapes 7 Granular-style repeats,

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8 Using SurferEQ 2 as a 10 Glitched-out distortion 11 An abstract alien 12 Epic orchestral pads

super-powered phaser beatscape with Molekular from a single-note sample

13 Transforming an 808 18 Livening up a dub drum 19 Creating a bed of 20 Phattening a skinny

beat into a hardstyle loop line with reverb and delay distorted reverb sawtooth wave

6 / CompuTER musIC / December 2016

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1 Synthesising a huge 3 Creating EDM-fit 1 How a basic virtual 4 Classic guitar tones…
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EASY GUIDE STUDIO STRATEGIES DR BEAT

THREE-NoTE ComBINING DELAY wITH
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/experts See how to squeeze

sevenths and ninths
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Find out how echoes can
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8 / CompuTER musIC / December 2016

> news

New releases • commeNt • iNdustry happeNiNgs

iZotope Neutron
Intelligently fix your mix with the Boston-based boffins’ smart new plugin
When iZotope released their free
Neutrino ‘summing’ plugin in
September, we had no idea it was
merely the prelude for a full-on mixing
assistant. Yet now we have Neutron,
boasting “the latest innovations in
analysis and metering”, iZotope’s
“best DSP yet”, and ‘smart’ features
that are described by the Boston-based
developers as “industry-first”.
Neutron doesn’t actually mix your tracks
for you – that’s still the stuff of fantasy – but
rather applies its spectral shaping
technology to get you to an “optimal
starting point” from where you can
make better mixing decisions. Its five
processing modules comprise a multiband
Compressor (two of them), a static/dynamic
Equalizer, a multiband Exciter, a
multiband Transient Shaper and a Limiter,
and the idea is to let Neutron set them up
for you… Neutron’s Masking Meter communicates between instances on
Activate Neutron’s Track Assistant and different channels to help you avoid frequency clashes between tracks
play a few seconds of a track into it, to have
the plugin detect the source instrument
(drums, guitar, vocals, etc) and configure all of presets (Warm and Open, Upfront unlinked or linked adjustment. Clever stuff.
parameters – including the signal flow Midrange, etc), Track Assistant certainly Neutron is out now for Mac and PC, in
between modules – as if you’d loaded a looks to have great potential. iZotope’s usual Standard and Advanced
preset specifically designed for that source. Track Assistant works on a strictly per- versions – the latter including plugin
Again, this is only meant to be a starting track basis, but Neutron’s Masking Meter versions of the individual modules and
point for your detailed final tweaking, but communicates between two instances of the surround capability up to 7.1 – priced £179
with three core modes (Subtle, Medium plugin to “visually identify frequency and £249. We’ll be reviewing it next issue.
and Agressive), each including a number collisions” and share their EQ curves, for URL www.timespace.com

Ableton Live 9.7

A free update, Live 9.7 is entirely focused on enhancing
Ableton’s Push controller, with the exception of Simpler’s
new slicing modes – chop samples by beat divisions or
regions – which can be used even if you’re not a Push owner.
Beyond that, a new drum layout assigns 16 velocity levels
to 16 of Push’s pads; audio and MIDI routings can now be set
in Push; pad sensitivity adapts based on what you’re playing;
There’s
plenty for
and pads, clips and tracks can be colour-coded from the
Push users hardware. Ableton Live 9.7 is available now.
in Ableton
Live 9.7 URL www.ableton.com

10 / Computer musiC / December 2016

 news <

trackers &
Demoscene
A smorgasbord of retro
tracker action and a demo
made without programming
The annual(ish) update to the SNDH
archive (v4.6) adds 345 Atari ST chip
Synapse music tracks. SNDH is a file container
Audio take a
devised in an attempt to consolidate the
stab at
emulating the myriad playback routines for decades of
Minimoog ST chip music into one format for modern
players. A lot of work has gone into
preparing the current total of 9,893 tunes

Synapse Audio The Legend

Despite it being probably the most well
of the Model D “to an accuracy never seen
before in software”. Two revisions of the
“A new version of Schism Tracker
known, highly regarded analogue synth of
all time, there are surprisingly few truly
hardware – early and late – have been
modelled, and Synapse Audio have also
is available, with UI improvements
convincing plugin emulations of the
Moog Model D on the market. With The
freed the Minimoog from its monophonic
shackles with the addition of polyphony
and hot-key additions”
Legend, though, Synapse Audio, makers and unison, and worked-in reverb and
of Dune 2 and Dune CM, hope to up the delay effects. into SNDH files, and you can grab them
number by one. The Legend is out now in VST, AU and all for free at sndh.atari.org along with
In developing The Legend, Synapse Reason Rack Extension formats, priced £89. links to players for Windows, macOS and
claim to have modelled every component URL www.synapse-audio.com legacy systems.
Next up, a new version of Schism Tracker
is available, with UI improvements and hot-
key additions. Schism Tracker (Win/Linux,
Steinberg Cubasis 2 schismtracker.org) is an open-source ode
The second generation of Steinberg’s stellar to Impulse Tracker, for which there exists a
iPad DAW ( 188, 8/10, guide in 196) has rich back-catalogue of superb tracker music.
landed. Cubasis 2 adds real-time Over at 16-bits.org/pt.php, you can grab
timestretching via zplane’s elastique 3 the latest version of ProTracker v2.3D Clone
algorithm (for easy tempo-matching for Windows and macOS. And if you’re
of audio loops to project tempo), unfamiliar with this classic, here’s a great
pitchshifting and formant correction, and collection of tutorials to get you started on
a new “studio-grade” channel strip the tracker that made a generation of 16-bit
comprising filter, compressor, noise gate musicians: bit.ly/2edxpmx.
and tape/tube saturation.
The new Spin FX processor, meanwhile, demo of the month
generates DJ-style tape stops, breaks and Alongside the main app comes the free Louigi, Do Androids Dream of Electric Sheep?
stutters, and new presets have been added Cubasis LE 2, a slimmed-down version of the Can’t code but still want to make a demo?
to the Micrologue and MicroSonic software to whet your appetite. Both are on By improvising with a few household
instruments. Cubasis 2 also sees a graphical the App Store now, with the main version items and a video camera, it turns out some
refresh of the interface, and is fully priced at £40. pretty passable demo staples can be
compatible with iOS 10. URL www.steinberg.net created, as Louigi demonstrates with his
Bladerunner-inspired title (bit.ly/DADOES).
Simply take an IKEA lamp shade, a
homemade light tunnel, a kaleidoscope
Exponential Audio Nimbus So what’s the difference? Well, Nimbus and an old sheet and you, too, can win the
Exponential Audio reckon they’ve comes with plenty of features less- Wild Demo competition at the Deadline
“reinvented” reverb with their latest plugin, associated with reverb, baking filtering, party in Berlin. For a ‘proper’ demo this
Nimbus, which is based on the algorithmic dynamics and more into the signal chain. month, check out Deadline’s 4K compo
reverb technology behind their PhoenixVerb There’s tempo-controllable pre-delay, a winner, Rhodium by Alcatraz
plugin, but promises “better sound, greater warp section with compressor/expander (bit.ly/RhodiumAlc) – it’s stunning.
flexibility and new capabilities”, though and overdrive, and a tail suppression circuit
without putting too much of a load on your for improved dynamic response. It’s also
CPU, so they say. said to offer an intuitive workflow and
comes with more than 1200 presets. Tool-
tips are built in, too, increasing the user-
friendliness still further.
Nimbus is available now in VST/AU/AAX
formats for Mac and PC, priced $199.
Check out Exponential Audio’s
promotional video at bit.ly/2dZwmJh,
or – if you can wait – read our review of
it in next month’s . The Blue Peter of demos. All that’s missing is
URL www.exponentialaudio.com a washing-up bottle and a golden retriever

December 2016 / Computer musiC / 11

> news

Get with the Beatskillz RetroHit

A drum machine Inspired by 80s

programmers
pop/dance and rock, RetroHit’s 50 kits each
contain 12 sampled sounds – kicks, snares,
hats, claps, toms, etc.
The machines sampled include the
LinnDrum, E-mu SP-12, Oberheim
The developer behind NI’s OB-MX and Fairlight CMI. All were
recorded through tube preamps and
Form describes its functions compressors from the likes of Neve,
Thermionic Culture and Drawmer.
Each sound has its own volume and pan
What’s your history in controls, with global settings for pitch,
music and in programming? reverb, attack and sustain.
What do you do over there at Retrohit is available now for PC and
Native Instruments? Mac, for $59.
Jh “I’m the Product Designer for NI’s URL www.beatskillz.com
Reaktor Instrument development
team. I used to play a few instruments
(piano, saxophone…), but most of the Boz Digital Labs The Wall
time, I play around with synths and Boz Digital Labs’ new limiter is designed
sequencers as a hobby. I also learned to make dynamics processing as easy
programming as a hobby, while I was as possible with its Flavor slider, which
working at my previous job, as a combines more than 30 under-the-
Mechanical Engineer.” hood parameters – just set your
Native Instruments Threshold and Ceiling levels and adjust
What was the toughest part of the Flavor to taste.
Jonathan Form to create from a development The Wall also features dual
point of view?
Heppner
limiting modes, and a Sanity Check
Jh “Some of the features in Form button, which compares your original
required us to stretch the limits of what sound to the compressed one with no
is possible in Reaktor. One feature in particular, Multi Mode, was very change in level.
difficult to realise. This mode is a type of multitimbrality, where you Out now for Mac and PC (VST/AU/AAX/
can play multiple patches at one time. We had to invent a voicing RTAS), The Wall will set you back $99.
architecture, which would make this feature possible.” URL www.bozdigitallabs.com

Form’s USP is the fact that it ‘resynthesises’ your

chosen sample – and it works incredibly well! How exactly does
Form track the sample’s pitch and resynthesise it, from a Venomode Maximal 2
technical perspective? What technology is used to ensure Venomode’s new plugin is an “advanced
accurate repitching? loudness maximizer that allows you to
Jh “It uses a unique pitch tracking technique, which looks for get the most out of your sound”. As well
patterns in a waveform. When a pattern is identified, it can be as transparent limiting,
used to determine the pitch. After we’ve determined an estimated Maximal 2 also includes tape-
pitch curve for the and tube-style saturation.
sample, we use The multi-stage limiter section
“After we’ve determined an a predictive is designed to smoothly limit peaks and
algorithm to smooth it increase the overall output level
estimated pitch curve for the out, and give a more automatically, and you can decide
accurate result. whether you want it to be “fast and loud
sample, we use a predictive “To resynthesise or slow and transparent”.
the sample, Form Maximal 2 is available now for Mac and
algorithm to smooth it out” uses a technique PC, priced £29.
called PSOLA URL www.venomode.com
(Pitch Synchronous
OverLap-Add). Although this is a well-known technique, Form takes
it to a different level by adding more effects, which can help with Mercuriall Spark
formant tracking, flattening the pitch, or twisting your sample into “The realisation of all [their] achievements
something new.” in the field of real-time electric circuits
modelling”, Mercuriall Audio Software’s new
In your opinion, does Form work best with particular types amp sim plugin models four Marshall tube
of sonic material? amps (AFD, JCM 800, JMP Super
Jh “It’s designed to work with monophonic sounds. For example, a Lead and JMP Super Bass), four
dry vocal track, a woodwind instrument, or a one-shot from a cabinets and four overdrive pedals,
vibraphone. These sounds will all work well with Form’s and also includes a noise gate and
pitchtracking engine. But if you don’t feel like following the rules, three “spatial” effects (Chorus, Delay
you can try working with different types of material. Personally, I’ve and Reverb).
been experimenting with drums, and even with some ambient Spark’s cabinets are picked up by two
music. I find that any sample that contains a strong fundamental virtual mics, which can be freely positioned
frequency (eg, a good bassline) will work with Form. The and mixed, while the power amp saturation
pitchtracking system can identify this bassline, and use it as a way to is described as “truly realistic”. It’s due for
interpret the sample.” release in Q4 2016, so it may well be
available by the time you read this.
URL www.native-instruments.com URL www.mercuriall.com

12 / Computer musiC / December 2016

 years
back
We checked out some
imaginative new ideas, and
even had a go ourselves
Sometimes, we look back at an old issue
– 107, in this case – and come across a
product that we’d completely forgotten
about. Take TC Electronic’s Konnekt 24:
this was an audio interface with built-in
Regroover takes a whole drum track and splits it into constituent parts – but how effectively? DSP-powered effects from the company’s
PowerCore platform. Sort of like a
cheaper version of UAD, though its
Accusonus regroover omission from our memory suggests that
it probably wasn’t quite as successful.
Accusonus’ new plugin ‘unmixes’ sampled loops into discrete layers, The reviews section also contained a
for manipulation just like a multitrack recording. Equally intriguing are Rain mini PC that looked like a scanner
Regroover’s “AI capabilities”, designed to reveal “previously unheard “We reported that
sounds” and “capture underlying micro-rhythms and hidden tempo
patterns”. Regroover comes in Essential ($99) and Pro ($199) editions, Google had taken
the second including 16 sample pads for triggering parts from the a punt on YouTube”
layers, and able to save kits rather than just import them. Essential is
(we didn’t see that design ‘copied’ too
available now, while Pro is due for release in November. much…) while our growing obsession
URL www.accusonus.com with phone-based music making saw us
PhotoShop an Ableton Live splash screen
onto a mobile. We’re not quite sure why,
but it’s still about as close as it’s ever

Ins & outs come to happening for real.

In seedier news, our then deputy
editor confessed to being a serial
LINkED UP NEgATIvE IMPAcT software philanderer, having multiple
First Ableton Link was just for Since when did it become DAWs on the go at the same time. After a
Live and iOS apps, but now acceptable to use the word period of monogamy, he let himself down
the syncing technology has ‘impacts’ as a synonym for again recently by having a fling with
gone open-source and is being ‘released’ when talking about Bitwig Studio. We thought he’d changed.
supported in Reason, Serato DJ and the launch of a new product or Finally, we reported that Google had
a beta of the new version of NI’s album? It didn’t, is the answer, taken a punt on YouTube, buying it for
Traktor. It looks like it’s becoming a but it still seems to be happening. $1.65 billion. A bargain, really: the cat
proper industry standard. Stop it, please. videos alone are probably worth that.

I’M NOT ONLY SLEEPINg DRILL BEHAvIOUR

Four lucky Airbnb-ers spent the Who knows if it’s true or not, but
night in a very special location in some people claimed that they
October, as, for one night only, inadvertently destroyed their
Abbey Road’s Studio 3 was turned iPhone 7s when they fell for a
into a bedroom. The night was hoax video that suggested that a
hosted by Mark Ronson, though 3.5mm headphone jack could be
we’re not sure whether he slept opened up by drilling a hole in it.
over or not. Let’s hope not. Don’t try that one at home, folks.

WE ONLY LIkE RIP ROD TEMPERTON

THE EARLY STUFF… Despite his low profile, the hits
Academics in New Zealand that Rod Temperton wrote for
have restored what are said to be Michael Jackson alone would
the first pieces of computer- have been enough to make him a
generated music, made on Alan songwriting legend (Thriller and
Turing’s computer in 1951. We Rock With You, anyone?). There
wonder how long they spent was more to him than that,
tweaking the bass sound. though, and he’ll be sadly missed. Our Mix Doctor feature was secretly a reason for us
to attempt breaking an industry-wide pun record

December 2016 / Computer musiC / 13

> news

freeware news
This month sees a double helping of delay plugins, a cracking live kit and
a free mixing tool from iZotope that’s positively begging to be heard...

Voxengo
Tempo Delay
Is there an echo in here… in here?
Voxengo presents a free delay that
packs a serious one-two punch!
Voxengo do it again!
Aleksey Vaneev has been pumping out Another superlative
high-quality commercial plugins sound design tool
under the Voxengo name for nearly that won’t cost you a
fifteen years, and we’re grateful any time pretty penny
he lobs a free one into the fray, as it’s a
safe bet it’ll be a goodun. The new Tempo with multiplier and numerator options with control over period and depth. Each
Delay is exactly that, with oodles of used to create subdivisions. channel also gets a resonant multimode
features and a superb sound. There are (tempo-based) delay time filter with overdrive. The filter effect is
A true stereo delay, this freebie and feedback parameters, plus a Rep applied pre-echo.
provides independent control over left Period knob that denotes a channel’s Most of us have plenty of delay effects,
and right channels, and Tempo Delay can further repetition period as a percentage so it takes an exceptional echo to warrant
march to its own beat via dedicated of the base BPM. Gain and Pan are also notice these days, but you’ll not want to
tempo controls that include a master BPM included. As well as the echo, you also get miss out on this one.
knob for selecting the base speed, along a dedicated per-channel Tremolo section www.voxengo.com

HY-Plugins iZotope The Control Centre

HY-Delay2 Neutrino Yellow Tama Drum rack
These hyphen-happy The latest freebie from the boffins If simple is good, then this
developers have behind Ozone is Neutrino, a new free collection of drums
released some spiffy cross-platform mixing tool cut for Ableton Live must be
Max4Live devices in from the same cloth as its bigger great. Recorded during a
the past, but VST and brother Neutron. Using “spectral studio tracking session,
AU plugins have been thin on the ground. We’re shaping” technology under the these samples of a
hoping the recent release of HY-Delay2 signals a hood, it’s designed to be placed venerable Tama kit lack
change. It’s a cross-platform plugin in both 32- across multiple tracks in a project, niceties such as velocity layers, but nevertheless
and 64-bit guises, and the commercial version in a similar way to analogue retain all of the classic character that has made
offers six different delay modes that include summing or console emulations. iZotope say it Tama a legendary name among drummers. A
stereo, twin, multi tap, pitch and filter modes. will “reduce momentary unevenness in a signal baker’s dozen of 24-bit samples are rolled into a
An additional simple delay mode also appears as transparently, in a way that conventional Rack for Ableton Live 9.5 and higher. A bangin’
the sole mode in the free version. equalisers and compressors cannot.” Go grab it! bargain if ever there was one!
hyakken.moo.jp www.timespace.com thecontrolcentre.com

CLASSIC FREE SOFTWARE

Computer musiC Cm-101
Normally, we’re not inclined to pat pages way back in issue 36. With its rich
ourselves on the back, shying away from analogue oscillators, gooey filter and
including any of our own plugins in this little punchy envelopes, it sounded fantastic
box. Still, we think the CM-101 deserves a and gave many a reader their first taste of
call out, being the first volley in a series of software synthesis. We last gave the 32-bit
high-quality CM-badged instruments that PC VST of CM-101 away in issue 184, but you
continues to this very day. Designed by know what? Here’s a download link.
Muon Software, CM-101 first graced these http://bit.ly/CM-101

14 / CompuTer musiC / December 2016

IssuE 237 DECEMBER 2016
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NEXT ISSUE ON SALE: 28 December tried many DAWs, but which gets the Hard Drive nod?
ABLETON LIVE NATIVE INsTruMENTs rEAKTOr
“I’ve worked on so many platforms over the “This comes with so many great options
last 20 years. First it was Magix Music Maker, and devices that I could make this whole
then Fruity Loops, ReBirth, Logic, Cubase interview about it. It’s a whole world that
Future is an award-winning international media can easily stand on its own. At the moment,
group and leading digital business. We reach more
and finally, Ableton Live. Even though I still
than 49 million international consumers a month use Cubase for mixing, Ableton is my main I’m using the Blocks to build crazy sounds,
and create world-class content and advertising production tool. It’s like a music laboratory but there’s still so much to explore. I just
solutions for passionate consumers online, on tablet
& smartphone and in print.
– so easy to experiment with MIDI and audio have to make sure I don’t get lost!”
and resampling. I just wish they would
Future plc is a public Chief executive Zillah Byng-Thorne update the mixing side of Ableton; then I
company quoted Non-executive chairman Peter Allen
on the London
Stock Exchange
Chief financial officer Penny Ladkinbrand wouldn’t have to use Cubase.” “There’s still so much
(symbol: FUTR). Tel +44 (0)207 042 4000 (London)
www.futureplc.com Tel +44 (0)1225 442 244 (Bath)
spEcTrAsONIcs OMNIspHErE 2
“There are a lot of excellent synthesisers
to explore, I just
All contents copyright © 2016 Future Publishing Limited or published under licence. All rights
reserved. No part of this magazine may be reproduced, stored, transmitted or used in any way
available today, but I can’t understand
how they’ve made this so formidable.
have to make sure
without the prior written permission of the publisher.
Future Publishing Limited (company number 2008885) is registered in England and Wales.
Registered office: Registered office: Quay House, The Ambury, Bath, BA1 1UA. All information
And I’m not just talking about the actual
sound – what’s extra special is how much
I don’t get lost”
contained in this publication is for information only and is, as far as we are aware, correct at the
time of going to press. Future cannot accept any responsibility for errors or inaccuracies in such it’s capable of in the studio. For me, it’s
information. You are advised to contact manufacturers and retailers directly with regard to the the best synthesiser for getting the sound
price and other details of products or services referred to in this publication. Apps and websites
mentioned in this publication are not under our control. We are not responsible for their from my head and into a song.” uNIVErsAL AuDIO uAD sHADOW
contents or any changes or updates to them. HILLs MAsTErING cOMprEssOr
If you submit unsolicited material to us, you automatically grant Future a licence to publish your
submission in whole or in part in all editions of the magazine, including licensed editions
u-HE DIVA “I cannot say enough good things about
worldwide and in any physical or digital format throughout the world. Any material you submit “This is a synth that is useful for every part UAD production tools – so much audio
is sent at your risk and, although every care is taken, neither Future nor its employees, agents or
subcontractors shall be liable for loss or damage. of a song, but the real strength is with bass power at your fingertips. I’m a big fan of
and leads. They are so punchy and organic; the tape emulation plugins, but I prefer to
digital sound, but it feels very real. If you mention the Shadow Hills compressor.
We are committed to close your eyes, you can imagine this is a I used to work with the real thing, so I know
only using magazine
paper which is derived piece of hardware.” just how good this is.”
from well managed,
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manufacture. Future
Publishing and its paper
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Stewardship Council).
 / burning question
samplemagic.com

Are intelligent mixing

assistant plugins
dumbing down
the art of mixing?

Fanu Waves
“Technology is there to offer us “The answer is a little complex…
quicker solutions to problems In some sense, it’s like saying
SM100 £34.90
and tasks. You ride a bike to the that the invention of mixing is Sample Magic celebrates a decade of inspirational sounds and music
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dumb it down, it makes it faster plugins are potentially enhancing commemorative 100th release featuring all new samples.
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“Mixing assistant tools give faster path to a good mix, and
you help and suggestions, but leaving more time for carving FUTURE SOUL
it’s still up to you to decide if you the aesthetics of the balance and
want to keep those suggestions the mix throughout. An effort A fusion of maximalist beats, epic
and control their intensity. An saved transforms into more time evolving melodics and hook-laden
engineer will always be the last to pay more and better attention
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link in the quality control chain to other details.
takes its cues from hardcore-digital
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goes out and what doesn’t.” to know the way, but it certainly and soul vibes to devastating effect.
helps you get to more places on
iZotope time with a reassuring feeling £34.90
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they were mixing identical audio. living from mixing, I should hitting – 100% guaranteed to get your
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mix engineers realise a vision people who prefer to expend hyper leads, glo-fi melodic synths and
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Samples__Patches__MIDI__Plugins__Books__Apps__Courses
> roundup

roundup
Dream nearfield monitors
Drool-worthy, aspirational studio speakers. Priced per pair

ADAm Audio s3X-H £5900

Damn S3X-y speakers. Also starring
in this issue’s Producer Masterclass
www.adam-audio.com

pmC twotwo.8 £5200

Owl get me coat
www.pmc-speakers.com

Barefoot sound
mm27 Gen2 £9720
You’ll have to tiptoe around your
better half when buying these…
www.barefootsound.com

18 / Computer musiC / December 2016

 roundup <

psi A21-m £4869

Send your neighbours cuckoo with
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Focal sm9 £4740

These French beasts weigh heavy on
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Genelec 8351 sAm

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> make music now / creative effects

THE ESSENTIAL GUIDE TO…

CREATIVE

22 / CompuTER musIC / December 2016

 creative effects / make music now <

Pump up your processing and

morph any sound into a unique
element with our huge guide
You could be a 20-year jungle veteran, a bound to get your inspiration glands To organise the chaos, we’ve broken this
millenial EDM freshman, or even a throbbing away… tutorial down into four key sections. First, we’ll
surviving relic of the 70s analogue era, Yep, it’s time to get creative with the most show you how to use effects sequences,
but there’s one thing we music producers inspirational and all-out insane effects granular tools and more for rhythmic results
can all agree upon: creativity is an essential processors in the universe! We’ll be taking the and mental fills. Next, forget everything you
ingredient of great music. Even when best processors out there, and we’ll be feeding thought you knew about mixing tools as we
working in the most established of genres or them everything from off-the-shelf samples delve deep into deranged delays, insane
on a remix, you need at least something to and vocal snippets to plain sine tones and even reverbs, glitched-out distortion and even
give your track its identity, be it a catchy riff, full mixes, to generate remix elements, funky creative EQ. After that, we bring out the big
great bassline, cool chord sequence or fills, alien percussion, rumbling bass riffs and guns with in-depth how-to’s on getting the
unique sound. There are many ways to even heavenly chord sequences. If starting most from today’s most advanced multieffects.
come up with these, but we generally from a totally blank canvas has you staring into And to top it all off, we’ll harness the power of
gravitate towards working with the source: space, but using samples, loops and factory signal routing and processing as we pipe plain
synths, samples, recordings, programming presets in your music just doesn’t feel right, signals into wacky send and return setups to
MIDI notes, and so on. There’s another then this transformative approach is one you generate out-there effects and sounds. Without
way, though, that’s so different that it’s absolutely have to try! further ado, let’s get crazy…

December 2016 / CompuTER musIC / 23

> make music now / creative effects

RHYTHMIC
TRICKS
Use modern sequenced effects
to play with the very fabric
of time – we’ll show you the
latest and greatest ways

24 / CompuTER musIC / December 2016

 creative effects / make music now <

Effects sequencers
You must’ve heard those ear-catching dance modern producer, there are plugins dedicated
edits and fills where a key sound – or even the purely to creating sequences of exciting effects:
full mix! – quickly flips through a series of rapid effects sequencers! While quite a few
and dramatic transformations. Slices of audio multieffects can be sequenced for modulation,
repeat, stutter and change in pitch… filter an effects sequencer is specifically for jumping
sweeps suddenly come out of nowhere… lo-fi through multiple effects in a rhythmically
bitcrushing bursts in and out… and snatches of pleasing way.
flanging, phasing, delay and reverb pepper the One of the first popular efforts was
whole lot. Only one of these effects might be dblue’s free Glitch, since superseded by
applied at a time, but by quickly switching the commercial Glitch 2 (illformed.org).
between them, a dizzying, flavoursome Sugar Bytes (sugar-bytes.com) make several
transition or catchy loop can be created from plugins that are ideal for the task – there’s the
Glitch 2 is a super-charged successor to the original ever-popular Effectrix, the knob-tastic Turnado
the plainest source material. And because the
free Glitch, which is still available at Illformed’s site
underlying source material is your song, it’s easy (which isn’t technically an effects sequencer,
to create musically fitting results. The effect is since it lacks the sequencer part, but its Dictator
most often glitchy and overt, but it can also be audio clips through contrasting effects. feature allows you to design an effects sequence
used more subtly for tasteful emphasis. Creating such mayhem by hand can be quite controlled by a single slider), and the super-slick
Effects like these were first produced the a chore, though, and if it takes too long, a Looperator, which we’re going to take a closer
hard way: by automating effects or resampling potential inspiration-killer. Luckily for the look at in our first tutorial.

> Step by step 1. Instant glitchy edits with Sugar Bytes Looperator effects sequencer

TUTORIAL
FILES

1 2 3
Most producers are familiar with Load Looperator on the master bus, Let’s design our own effects sequence.
Sugar Bytes’ Effectrix, but for an even placed before the limiter. Even with Looperator’s sequencer runs from left
more effortless route to sliced loops and the Default preset, we get an instant to right, each cell representing a quarter-
glitchy edits, check out the company’s rearrangement of our groove. Click where note by default. The vertical “tracks” are
other effects sequencer, the super- it says Default to browse the categorised for six different effects that can be active
efficient Looperator (get the demo at presets and get an idea of what this wild at any one time. Try the Filter row first –
sugar-bytes.com). In your DAW, load the and colourful plugin can do to even the click step 1 to reveal a pop-up menu full of
WAV files beginning “Garage…” onto most basic of beats. When you’re done, ready-made filtering movements. Click the
separate tracks in a 135bpm project, and select the User » Default preset, then Init upper-left one to add a closing low-pass
put a limiter on the master bus. » Init All to give a blank slate to play with. filter to the first beat.

4 5 6
Drag this effects step across to steps This has given us a pretty tasteful On step 4, add FX 1’s Tapestop Slow,
2, 3 and 4 to copy the effect. Next, use IDM-style edit, but we can fine-tune it then change Loop to 8 for a
the Loop row to add the Loop 1/4 - 1/4 - 2/4 further. On the Filter lane, set step 1 to the descending snare rush. We resample the
Rev effect to step 1, then copy it to steps 2, O option for a vowel filter, adding a vocal- output to a new track, for easier
3 and 4 in the same way. Drag where it like timbre to the sound. Set step 4 to arrangement. Finally, try putting
says Filter to move that track above the Lowpass Wobble (upper-right in the individual sounds through Looperator to
Loop one, changing the processing order menu). In the Loop lane, set steps 1 and 4 create variations and remix elements, and
– the sound is now filtered before being to Loop 3/4 - 1/4. pile on even more effects to create insane
looped, giving a totally different result. effects sequences that bear no
resemblance to the original input!

December 2016 / CompuTER musIC / 25

> make music now / creative effects

5 great creative > Step by step 2. IDM-style stuttered fills with Stutter Edit
FX plugins

Sinevibes Fraction
229 » 8/10 » $69
Fraction produces rhythmical mayhem by
slicing, repeating and effecting audio on the fly.
It offers eight audio slicers, 15 effects, four
parameter animation generators, and plenty
more. It’s Mac AU-only, though.

1 2
www.sinevib.es Load the WAVs beginning “IDM…” Stutter Edit is a MIDI-triggered effect,
onto audio tracks in a 168bpm project, so we need to route MIDI into it to
then turn the vocal track down to -12dB make it work. How you do this depends on
and put a D16 Group Frontier limiter on your DAW, but in Ableton Live, add a new
the master bus. Take a listen to the fill at MIDI track then set its output to the vocal
bar 16. We want to transform the spoken track, and the secondary output selector
word “request” into a stuttered fill that to Stutter Edit (which should be selected
spans the whole bar, so add Stutter Edit by default anyway). Set the MIDI track’s
Xfer Records LFOTool (demo available at izotope.com) to the monitoring mode to In.
166 » 9/10 » $59 vocal track.
This super-popular tool coded by Serum creator
Steve Duda gives you custom LFO shapes to
control volume, filter and panning, for everything
from sidechain-style pumping and trance
gating to autopanning and filter wobbles.
www.xferrecords.com

Audio Damage Bitcom

191 » 7/10 » $39
An uncompromising sequencer-powered plugin

3 4
Now loop bars 16-18 and hit a key on An eighth-note repeat is applied by
that will crush your bits in the most brutal ways
your MIDI keyboard as the vocal the Stutter module. Adjust the Stutter
imaginable. For each step, you can toggle any of
begins – each key produces a different Length handles – when the Gesture is
the 8 bits on or off, set a random selection, and
effect, called a Gesture, and you can see triggered, the parameter sweeps from the
hear the dry signal or built-in synth.
the settings changing with each new key. blue end to the green one. Set up a full-
www.audiodamage.com Change the MIDI track’s Monitor mode to range sweep from 1/64 to 1/4 (the right-
Auto and program a MIDI clip that plays click options can help with this). Now use
the note C3 for 5 beats, overlapping where the curve slider below to make the
the drums come back in. Select Bank transition ease in or out (the Timeline Dot
<Empty> so we can program our own… visualises this), and set it to about 60%.

Image-Line Gross Beat

N/A » N/A » $89
Using an envelope to shape volume should be
a familiar concept to most producers, but Gross
Beat controls the flow of time itself! Stepped
envelopes create stutters and repeats; smooth
curves generate slowdowns, tapestops, etc.
www.image-line.com

5 6
The other modules work similarly. Gate Width sets the length of stuttered
Less obvious is that Stutter, Quantize, slices. Set it to range from 30-100%,
Ableton Beat Repeat Gate Width, Jump Pan and Buffer Position so it starts out choppy and staccato,
N/A » N/A » FREE with Live all relate to the stutter process. Quantize then eases off. Enable Jump Pan to
Got Live? Then you’ve already got one of the makes the Stutter module jump instantly make the slices jump around the stereo
best rhythmic effects around: the excellent Beat between note values for more rhythmic field. Let’s finish the effect by using the
Repeat. From standard looping repeats to rapid results. Enable it, then set the Stutter High-Pass Filter, Bit Reduction, and
filtered stutters and pitch tweaks, this essential Matrix as shown to restrict repeats to Lo-Fi modules to mangle the vocal.
effect packs a lot into its unassuming interface. those note lengths only. Set the Stutter Effect Gain can be used to compensate
www.ableton.com slider to Full Range again if needed. for level discrepancies.

26 / CompuTER musIC / December 2016

 creative effects / make music now <

> Step by step 3. Twisting up a DnB drum beat with Sinevibes Cluster 2

1 2 3
Let’s create instant rhythmic Cmd-drag to set all steps to 100%. Finally, Copy and Paste the sequence
variations on a drum beat using the Now, see the waveform display? Draw to Snapshots 1-7 in the lower left –
Mac AU plugin Cluster 2, by Sinevibes – in a pattern that sets the filter to full on the leave 8 as-is for a “no effect” option. Tweak
you can download it free with Computer loudest hits, then clamp it down to about the controls in each Snapshot to make
Music issue 231. Load the WAVs beginning 30% on all other steps. Set filter Type to variations. When you’re done creatively
“DnB…” into a 174bpm project, loop them, BQF -12dB, increase Resonance to 30%, modifying the Snapshots, flip between
then put ToneBoosters Barricade CM on then adjust the steps until the resonance them to instantly switch up the drum beat
the master bus and Cluster 2 on the picks out cool tones between the kick and – this parameter is automatable, so you
Drums track. Draw shapes into the blue snare hits. can record your changes too.
Frequency sequencer to twist up the beat.

> Step by step 4. Stacking rhythmic effects Granular fever

Glitch plugins work by sampling
audio input on the fly, then
chopping it into tiny chunks
known as grains. These grains
are then repeated, rearranged
and subjected to further
processing to create everything
from simple stutters and beat-
doubling effects to insane digital
meltdowns. All of the effects
sequencers we just covered can
glitch up your audio in this way.
There are also a number of
classic glitch plugins available

1 2
Load Beat.wav and Bass.wav into a Below the LFO graph, there are lots of via freeware legends
128bpm project. We’ll stack multiple tools to help you draw cool shapes. Smartelectronix, such as
rhythmic effects onto the bass for rich, The second one enables Steps Drawing – DestroyFX’s Buffer Override and
multilayered movement. Add Cableguys activate it and draw a pattern like the one MDSP’s LiveCut. Native
FilterShaper 3, click the upper-right down shown to create a rhythmic filter. You can Instruments’ The Finger packs in
arrow and select Preset » New. We’ll design also drag points in the graph to create
40+ effects to be triggered via
a custom LFO to control the filter, but first sweeps rather than instant jumps. You
we need to turn the filter on. Below where don’t have to copy our shape exactly – feel your keyboard, including
it says Filter 1, select 12dB S-K LP. free to come up with your own groove! granular effects, looping,
reverse, and so on. Perhaps the
Rolls Royce of flashy granular
stuttering effects, though, is
Stutter Edit, designed by
electronica legend BT in
collaboration with plugin
magnates iZotope – see our
tutorial for an example.

3 4
Next we add Output’s Movement We want the distortion only when
(output.com). This rhythmic effect required, so pull Mix back to 0%. In the
has lots of useful presets – 13. Rage Nights step sequencer above, draw a rhythm.
adds more resonant filter wobbles and Click Matrix and in the first row, and set BT got tired of slicing and dicing audio
spacious delay. Let’s use Dmitry Sches’ Mod 1 to modulate Layer A Dist Mix with by hand, so he created Stutter Edit
rhythmic multieffect, Tantra the Depth at maximum. Finally, throw on
(dmitrysches.com), to bring the bite back. Cableguys VolumeShaper and select the
Add it to the track and set Distortion Mix first Ducking waveform for instant
to 100%, Drive at 4dB, and Fuzz at 30%. sidechain-style pumping.

December 2016 / CompuTER musIC / 27

 HOT VIDEOS
ON THE
CHANNEL

subsCribE for:
Exclusive hands-on sessions
with the latest software SynthMaster 2.8: Hands-on
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> make music now / creative effects

EXTREME
MIXING
TOOLS
Discover the deranged delays,
insane reverbs, eccentric EQs
and decimating distortions
that’ll transform your sounds

30 / CompuTER musIC / December 2016

 creative effects / make music now <

> Step by step 5. Sinister pitchshifted echoes with Crystallizer

Three more
creative delays

FabFilter Timeless 2
142 » 10/10 » £94
At first glance it’s a straight-up tape-style delay,
but with FabFilter’s powerful modulation
system onboard, this evocative echo machine
becomes so much more. It also features a
Stretch mode, for smoothly adjusting delay
time without changing pitch.

1 2
Soundtoys Crystallizer can perform Check out the default settings: It’s a www.fabfilter.com
real pitchshifted echoes – get the synced eighth-note delay with a bit of
demo at soundtoys.com. Load the WAVs feedback (Recycle) and the Reverse
beginning “Dark…” in a 90bpm project, switch enabled. Set Pitch to 200 Cents for
loop them, then put D16 Group’s Frontier echoes that rise by two semitones each
on the master bus and Crystallizer on the repeat, which, if you’re into music theory,
Piano track. We’re going to add serious gives us the whole tone scale. Increase
weirdness to this horror-inspired groove. Recycle to 4 o’clock to lengthen the decay.

UVI Relayer
222 » 9/10 » €129
A supremely well-designed plugin, this one
lets you dial in timing, level, pan and two
effects for each of 32 delay taps. UVI aren’t
far wrong when they say its “possibly the
last delay you’ll ever need”.
www.uvi.net

3 4
Now try 100 cents for a rising Hit the Tweak button to reveal yet PSP Audioware
chromatic scale, 300 for a diminished more controls – try Ping Pong echoes,
stompDelay
arpeggio, 400 for an augmented triad, pitch/delay offsets, filtering and more. Try
232 » 10/10 » $83
and other values. 1200 gives an octave. downwards shifting and filtering on the
Have you tried the amazing cmDelay that’s free
You can use negative values to send the vocals for demonic echoes. For best
with this magazine? You should! Its big brother,
echoes spiralling downward. You don’t results, use Crystallizer as a send effect
stompDelay, is even more insane, packed with
have to use multiples of 100 either – shift with a reverb after it. On Hits.wav, use
exciting extra features. Click the PSP header in
-20 downwards with Recycle on full for an faster Splice and Delay times to create
cmDelay for your 60%-off discount code!
eerie descending siren. skittering rolls and low-end impacts.
www.pspaudioware.com

> Step by step 6. Vast ambient delay with eaReckon EARebound and FXpansion Bloom

1 2 3
We’re going to take a plain synth and Now click the Edit buttons to edit that Add FXpansion’s Bloom after. This has
stack up two very different delays to echo’s parameters. The X/Y pad sets one stereo delay line, but with deeper
create a super-huge effect. Load the WAVs panning, so we pan echoes 3 and 6 hard modulation and effects. Change the Delay
beginning “Tension…” into a 110bpm left and right. We also add progressively Time to 1/8D for a syncopated echo, then
project. Put eaReckon’s EARebound on the more saturation with each echo (20%, set Feedback to 66%. Bloom’s Diffusion
Synth channel. Punch the buttons at the 35%, 50%), then use Lo Cut and Hi Cut to Network gives amazing reverb-like
bottom to set the echo’s rhythm – we go filter the echoes to taste. Set Dry/Wet mix smoothing to echoes – set Size to 75%,
for 3, 6 and 7. to 70% so the dry pluck cuts through. Decay to 82%, and Amount to 67% to
hear the sound grow!

December 2016 / CompuTER musIC / 31

> make music now / creative effects

> Step by step 7. Granular-style repeats, resynthesis and more Creative space
available…
Not just a mix tool, reverb can truly
uplift and inspire, as anyone who’s
played a musical instrument inside
a great acoustic space will attest.
Reverb plugins can have the same
inspirational quality, but since
they’re not bound by the laws of
physics, they’re actually superior in
some ways.
Traditional spring, plate, room
and hall reverbs are a fine starting
point, but push decay times and

1 2
One of 2CAudio Aether’s craziest Disable the Late Reflections for now other parameters to extremes to
features is the super-tweakable early with the button next to LR Gain, then embolden their character. Render
reflections module. To try it, load the WAVs check out the Space section. Increase Size them then repitch, reverse, or
beginning “Test…” on audio tracks in a and hear how the initial echoes spread out.
further mess with the output.
120bpm project, loop them, then stick Tweak these controls to further shape the
Aether (2caudio.com) on the Hits channel echoes, and select completely different Convolution reverbs have huge
and solo it. The default preset is a fine spaces using the Space dropdown. Finally, creative scope. Their impulse
starting point. re-enable Late Reflections and adjust the responses are samples of a reverb
Time parameter and its neighbours to tail recorded in a real space (or from
shape an epic tail. a reverb unit). But since they’re just
samples, you can process the
impulse response WAVs (back them
up first!) to create bizarre processed
versions. And there’s nothing
stopping you loading any WAV as
an impulse response, be it a
synth sound, drum hit, or speech
sample. This can give seriously
weird results!
In addition to those in this page’s
tutorial, there are plenty more
creative algorithmic plugins to try.
Eventide’s Blackhole (eventide.com)
is superb for ambient washes and
cavernous textures. Invert decay
with the Gravity control, or make it

3 4
Zynaptiq’s Adaptiverb (zynaptiq.com) You can tweak the envelope of the sustain forever with the Infinity
is a jaw-dropping new type of reverb resynthesis with the central Sustain button. All of ValhallaDSP’s reverbs
that uses resynthesis, ray-tracing and parameter. To fine-tune the resynthesis, (valhalladsp.com) are excellent,
harmonic filtering techniques. Solo the use the controls down the left-hand side.
but for all-out sonic epicness,
Pad track – we’ll transform this basic piano Set Simplify to 0.97 to drastically reduce
into a haunting pad. Add Adaptiverb, click the number of oscillators used, creating a
ValhallaShimmer is the one.
Fine-Tune to access the full parameter thin, bell-like texture. Set Sustain back to Rob Papen RP-Verb
set, then set Reverb Source and Dry/Wet 90 and Simplify to 0 when you’re done (www.timespace.com) packs in a
Mix to 100%, and Reverb Mix in the experimenting. Increase Richness to few unexpected additions, such as
central X/Y pad to 0 (fully left). This lets us 100% to add harmonics determined by distortion, and when you buy it, you
hear the real-time resynthesis of the input. Interval – set it to +12. get the ace RP-Delay for free, too.
Finally, some reverbs are just
plain wacky, like PSP Audioware’s
PianoVerb2, which models
reverberating piano strings. Get its
freeware predecessor, PianoVerb,
at pspaudioware.com.

5 6
So far, we haven’t even used the Truly deranged sounds can be created
reverb module, so increase Reverb by automating reverb parameters, but
Mix (on the X/Y pad) to 100%. Turn up not all plugins handle it without glitching.
Harmonic Filtering to cause the output D16’s Toraverb (d16.pl) is one that can. Want to put your sounds inside a giant piano?
to be in increasing harmony with the input. Solo Automate Test.wav, add Toraverb, PSP figured you would, so they made this
Set to full, the reverb almost instantly then crank up Feedback and manipulate
tracks new pitches when the chords Late Size for bizarre pitch sweeps, ideal
change, so we don’t get a discordant blur for risers and sweep FX. For the ultimate in
of clashing notes, as with normal reverbs. smoothly manipulatable reverb, try Flux’s
At 0, we get a full, rich cathedral of tone. IRCAM Verb V3 (fluxhome.com).

32 / CompuTER musIC / December 2016

 creative effects / make music now <

> Technique
10. Glitched-out distortion

Extremely plain waveforms

can be transformed using a
combination of filthy distortion
and bit-mangling plugins…

1
Load the WAVs “Filth…” into a
130bpm project. Add Unfiltered
Audio Dent then set Trim to 15%, In to
16x, Bias to 0.4x, and Out to 9x.
> Technique 8. Using SurferEQ 2 as a super-powered phaser
Change Hard Clip in the lower right to
Wavefold – this will “fold back” the
waveform when it hits the distortion
threshold, for a more unnatural sound.
EQ plugins with features inspired by phaser and comb filter. In our example, we
creativity rather than utility are few and far take a simple synth chord part and place
between, but Sound Radix’ SurferEQ 2 is an SurferEQ2 on it. We then use a MIDI track
example of this rare breed. Its harmonic playing an arpeggiated version of the same
filters boost or cut the harmonic series, and chords to control the harmonic filter, creating
by routing audio into SurferEQ 2’s sidechain, a stepped phaser effect. ‘Surf Time’ can be
or controlling it via MIDI, you can use the used to set how long bands track to MIDI
plugin as a powerful, precisely controllable notes – glide time, essentially. Neat, huh?

2
Next add Meda’s MBitFun, which
manipulates the digital signal’s bits
directly for highly unpleasant artefacts.
Set Output Gain to -20dB and input
Gain to +20dB, then set the XOR’s Shift
to -1, and turn on bit 3 to rip the
waveform apart. Bypass the distortions
to hear the difference they’ve made.

> Technique 9. Maniacal multiband distortion

3
Add SideWidener for stereo
Every effects extremist should have at least each band, such as FabFilter Saturn, iZotope
presence. Then, add Xfer Records’
one multiband distortion in their arsenal. Trash, and MeldaProduction free OTT multiband compressor with
Multiband operation lets you target distortion MMultibandDistortion. When it comes to Depth at 25%, and Out Gain at 2dB. To
only at frequency ranges that need it or split setting up the bands, there’s no right or balance the frequencies, increase M to
the load across several ranges. This gives far wrong, but for musically pleasing results, try half past 2 o’clock, L to full, then move
clearer results when using heavy distortion. to adjust the output levels of the bands so the L’s red slider to 75%. Feed basic sine
Some plugins let you dial in totally different overall sound is reasonably balanced and not, waves and filtered tones through this
styles of drive, distortion and degradation for for example, midrange-deficient. chain for a gnarly outcome.

December 2016 / CompuTER musIC / 33

> make music now / creative effects

MULTIEFFECT
MAYHEM
Multiply the madness with
the amazing power-packed
plugins that do absolutely
everything – and more!

36 / CompuTER musIC / December 2016

 creative effects / make music now <

When less > Step by step 11. An abstract alien beatscape with Molekular
isn’t more
Effects are highly addictive, and just
one is rarely enough. Guitarists
found this out pretty quick when
stompbox effects became
widespread in the 60s and 70s. A
few manufacturers attempted to
indulge the axeman’s appetite with
mega-pedals housing multiple
effects (see Ibanez’s epic PUE-5
Tube for a prime example – this
hulking beast even featured a real
12AX7 valve!).

1 2
Multieffects really took off Native Instruments’ Molekular is not The default patch sounds awesome,
during the 80s digital revolution. your average multieffect – it’s packed but we’d like to design our own from
Now, just a handful of onboard DSP with spectral gizmos, granular gadgets, scratch. Click the patch name at the very
(Digital Signal Processing) chips and other freaky sound-transforming top of the display and select 6: Single DSP
could produce a wide array of modules. Load up NoiseBeat.wav in a » 6: 1 - INIT - Molekular. The four empty
effects. For example, there might be 60bpm project. Molekular is a Reaktor slots at the bottom are where we’ll load the
ensemble, so add Reaktor 6 FX to the effects modules. Click the first one’s down
a total of 20 effects to choose from,
NoiseBeat track and use the the Browser arrow to see the available modules, then
and you’d be able to run, say, 4 at a to locate Molekular.ens. Drag it onto the click Spektral Smear to load it, turning it
time. This approach kept costs main Reaktor workspace. on with the upper-right power button.
down and allowed manufacturers
and producers alike to explore the
exciting new possibilities of digital
processing. Eventide’s legendary
H3000 Harmonizer became a
fixture in top studios and the racks
of minted guitarists, and affordable
multieffects like Alesis’ Quadraverb
series and Yamaha’s SPX-90 struck
a chord with the burgeoning home
production scene.
Modern DAWs allow us to load as
many effects as needed, though, so
why use a multieffects plugin? Well,
there are plenty of advantages.
In-built routing allows fast, efficient

3 4
management of signal flow; global This module sustains and blurs Double-click Random to reset it, then
modulation sources keep multiple frequencies over time. Increase the in the LFO panel above, click Assign
effects moving in tandem; entire left-most Release to about 2 o’clock, so and move the slider next to Random up
signal chains can be saved then the spectral smearing sustains longer, to 80%. Now the LFO controls the
recalled in any DAW. There’s just giving a faux reverb effect. Increase Mix Random amount. It’s a bit fast, so change
one main interface to learn in order to just past 3 o’clock to make it more Rate to 2 bar. Let’s add another effect.
obvious. Now twist Random to hear the Click the down arrow on the second
to master several effects, and all can
sound range from cold and electronic to module – load Ryuchi, a lo-fi pitchshifter,
be managed from a central window. smooth and smeared. and turn it on.
A multieffect may even make more
efficient usage of CPU – for instance,
oversampling the entire chain just
once instead of per plugin. And of
course, the effects themselves may
be designed to work well together.
If you’re still not convinced, though,
how about a practical
demonstration or two? Here we go!

Eventide’s legendary H3000 Harmonizer –

its spirit lives on in the H3000 Factory plugin

5 6
Decrease Fade to 9 o’clock for more In slots 3 and 4, load Dual Delay and
attack, and set Mix to 50%. Adjusting Modulo Fry. Set them up as shown
Down Shift gives great effects, so let’s here. Modulo Fry is an unusual three-stage
animate it with a Step Sequencer. Reset distortion that we’ve used to add more
Down Shift, click Step in the upper left, set sub-bass rumble, while the delay gives a
Tempo to 2nd, then right-click the steps familiar repeating effect. Bypass Reaktor 6
and click the tiny arrows to make the lane FX to fully appreciate the insane
bipolar. Assign it at full strength to Down transformation this mental multieffect has
Shift. Now draw a pattern like ours. lent to our simple beat.

December 2016 / CompuTER musIC / 37

> make music now / creative effects

> Step by step 12. Epic orchestral pads from a single-note sample with MeldaProduction MXXX

1 2 3
MeldaProduction’s MXXX gives you Now add MXXX to the String track. If Effects are loaded into slots in the
access to practically every effect you don’t like the default interface Modular Editor on the left – click the
they’ve ever created in one modular style, hit Settings in the upper-right, then top slot in column 1 and add Spectral »
multiband mega-plugin packed with click the Style button and select an Harmonizer. This pitchsher generates
modulation. Let’s transform a simple one- alternative. Close the pop-up windows lush harmonies from a single note.
note string sample into an epic orchestral with their upper-right Xs when you’re Change the Mode in the Harmonizer’s first
pad that you can play via MIDI. To get done. By default, MXXX shows us the panel to Vocoder (high quality) for best
started, make a new 100BPM project, then available presets, but we want to create a results. Click a chord (eg, MI7) in the
load String.wav on an audio track, and patch ourselves, so click Edit in the upper Harmony section, then one of the note
Chords.mid on a MIDI track. menu bar. buttons above to generate that chord.

4 5 6
Click Reset in the Harmony header It sounds kinda rough, warbly and The Sharpness control is also a great
when you’re done trying it out, as we small, so add a Reverb effect in the slot one to play around with and modulate.
want to use MIDI to control the harmonies below the Harmonizer. Set Size to 42m, First, reset Sharpness with a right-click.
directly instead. Right-click the Reverb Time to 836ms, and crank We’re going to use MXXX’s Learn function
Harmonizer in the Modular Editor to Widening up to 100%. This really smooths to make the modulation assignment, so
access Plugin Settings, Enable the MIDI out the sound and adds considerable stop playback as we don’t want to
Input, then hit OK. Now route the Chords scale to it. Now click the Harmonizer in accidentally bind the incoming MIDI notes
MIDI track to MXXX – how you do this will the Modular Editor to get back at its to controls on the interface. Now click
depend on your DAW, so check out the controls and gradually pull Keep Formants Meters & Subsystems to reveal the
manual if you’re unsure. right down to open up the sound. Modulators section.

7 8 9
Click Mod 1’s righthand “menu” icon, Let’s add another effect, this time in Right-click Wobbler and select 1 in the
then Learn – the button now says parallel. In column 2, in the row below Input section to route the Reverb’s
“REC”. Move the Sharpness slider through Reverb, add Equalizers » Wobbler, and output into it. Below Wobbler, add a Delay,
the range you want to modulate it, then click Presets in the Wobbler header to select the PingPong 4 preset, then set
click REC. Enable MOD 1 with the square select Pads » Alumnae Pocketer. Turn off Min Frequency to 1500Hz and Tap 1 Gain
lamp on its left, and the Sharpness slider column 1 by clicking its number in the to -6dB. Unmute effects column 1. Now the
starts moving on its own. Click MOD 1 to Modular Editor. Turn the Wobbler’s Drive fun part: load different monophonic
edit LFO settings, and select an entry in down to 2%. samples onto the audio track to turn them
Parameters to edit its modulation range. into inspiring pads for your tracks!

38 / CompuTER musIC / December 2016

 creative effects / make music now <

> Technique > Technique 14. The multieffects you may already own
13. 808 transformation
Eager to get into multieffects, and ready to
Let’s turn an 808 beat into pull the trigger on a pricey package? Hold
your fire! You may already own one without
a hardstyle loop with realising it, as many virtual guitar amp
MeldaProduction MXXX’s packages double up as superb multieffects
processors. Owners of NI Komplete, for
multiband effects… example, should definitely install Guitar Rig
5. The amp sims are great for roughing up
your sounds, though they can be removed
altogether if you just want to use the tasty
effects. Other similarly flexible offerings
include IK Multimedia’s AmpliTube 4 and
Overloud’s TH3.

> Technique 15. Easy does it with Sugar Bytes Turnado

One of the quirkiest multieffects is Sugar

Bytes’ bonkers Turnado. To start, you choose
8 one-knob effects from a palette of 24, then

1
Load 808Beat.wav in a 125bpm get twisting. The Dictator slider can control
project, put MXXX on it, then click
all knobs at once, with preset or defineable
Edit. Right-click the upper multiband
display area, and in the Create Default mapping curves for each. What you may not
Bands panel, click 3. On the far right, realise at first, though, is that signal routing
enable the built-in output Limiter – happens on the fly: whenever a knob is
things are about to get pretty rowdy. turned up from its zero point, its added to
the end of the effects chain… so turn the
knobs in a different order and you get a
totally different result! Click an effect’s Edit
button to design exactly how its singular
knob affects the underlying parameters.

> Technique 16. Seven more amazing multieffects

AudioThing’s VinylStrip and SpaceStrip add features a compact LCD-esque interface that
old-school grit and depth/ambience – with all recalls the programmable rackmount units

2
Click band 1 to edit it. Now load controls visible at once, and drag-and-drop of yesteryear, but with 21st-century sonics.
Bassador followed by Distortion routing, it doesn’t get much easier. Further kiloHearts’ nifty Multipass lets you plaster
in effects chain 1 in the Modular Editor. no-nonsense multieffects are Tone2’s 20+ “snapin” effects across up to five
On the midrange band, add Granular
WarmVerb – worth £50 but yours free with frequency bands, with modulation aplenty.
then BitFun with the Gilding Ruben
and Renouncer Wordsmith presets
234 – and Subsonic Labs Volfram, the big Lastly, Exponential Audio’s Excalibur is a
for a swinging triplet rhythm and daddy of our ace Wolfram CM. PSP ’s N2O super-deep effects station.
nasty distortion.

3
Let’s connect the other outputs to
Osc 1 instead. The central one is a
pulse shape with Wave controlling
width/symmetry; RND gives random
steps, with Wave smoothing the
transition. With faster settings, RND
mode is great for sample-and-hold
pitch warbles or stepped filter effects.

December 2016 / CompuTER musIC / 39

> make music now / creative effects

SEND/RETURN
SESSIONS
Loosen your chains and boost
your busses – try throwing
these far-out processing
setups into your projects

40 / CompuTER musIC / December 2016

 creative effects / make music now <

The benefits of the bus

As with most things in music production, there’s or after the effect you’re using. One great
a number of different ways to use effects or
processing in your own tracks, with the simplest
“The classic, and most example is EQ and filtering: by sticking a filter
before, say, a vocal reverb send, you can alter
of those being to place them directly on the
required channel as an insert. While this is
convenient, way of the frequency content of the signal that will
have reverb applied. The source sound remains
typically the best way to use effects such as EQ
or dynamics processing, it can be a pain when it using creative effects the same, and only your custom send/return
effect channel is changed.
comes to using things such as delay, reverb or Another great technique is to use
chorus. is to place them on compression after an effect to thicken up
The classic and most convenient way of using the sound. This is not only great for adding
these sorts of creative effects is to
instead place them on an FX send/return
an FX send/return” density to effects such as reverb or delay,
but can also help with keeping big effects such
path that ‘taps off’ an input signal from one as feedback-driven dub delays in check. Over
channel before outputting an effected version and processed signals together, but there are the next few pages, we’ll run through some
of that signal onto a separate channel. This plenty of benefits to using this kind of effects- great techniques that will help you use sends to
may be more long-winded than just placing processing setup. their fullest for sound design, adding
the desired effect straight on the channel and The big advantage is that additional atmospherics and all manner of other creativity.
using wet/dry mix controls to blend the clean processing can be applied to an FX send before OK, let’s get stuck in…

> Step by step 17. Turning a stab into a riff with delay and distortion effects

1 2 3
Using FX sends to apply creative Add Crystallizer on a new send, then Our delay effect now pitches five and
processing can open up a world of turn the wet/dry mix up to 100%. seven semitones up, turning our stab
sound design possibilities, making it After this, set up a 0dB send from the Stab into a simple riff. Next, we’ll automate the
simple to turn a dull sample into channel to our new FX channel. Now Splice amount to 1/4 for bars three and
something more exciting – so let’s twist up we’ve got a basic delay going, let’s make it four – this’ll delay a longer slice of the
a boring stab into a unusual riff using into a riff using automation. First up, we’ll incoming audio, giving our riff added
Soundtoys’ Crystallizer and Rob Papen’s automate Crystallizer’s Pitch to 300 cents variety. Next, we can draw in automation
RP-Distort CM. Start by setting your BPM for bars 1 and 2 before increasing it to 700 of the Recycle dial to increase
to 128, and import Drums.wav and cents for bars 3 and 4. Crystallizer’s feedback, creating an
Stab.wav from the Tutorial Files folder. unusual pitching delay effect.

4 5 6
We’ve gone for a subtle Recycle boost Stop playback and load the Great On Finally, we can add extra width to the
on bar 2 with a more extreme lift over Short Leads preset. Pull the distortion riff by assigning LFO2 to the Widener
bars 3 and 4, but feel free to experiment. Volume down to around -23dB. After this, amount – turn on sync and set the timing
After this, we’ll set the Delay Time to 1/4 we’ll change the distortion Type to 4x12 to 1bar, then adjust the Amount to taste
to make our riff slower; this’ll give a more to achieve a richer, less tinny distortion – we’ve gone for around 30%. We now
musical sound that fits the drum track’s sound. Now modulate the wet/dry mix by have a cool and unusual riff that works
groove nicely. Now, we can grunge our riff assigning LFO1’s destination to Mix, musically and sounds unique. These
up a little by adding RP-Distort CM to the before pushing the Amount up to around techniques work equally well with
FX send after Crystallizer. 70%. different genres and sounds.

December 2016 / CompuTER musIC / 41

> make music now / creative effects

> Step by step 18. Livening up a dub drum line with reverb and delay

1 2 3
We can use FX sends alongside a few We’ll set up 0dB sends from both the Now our reverb has a cool, pumping
plugins and some creative routing to DubKick and DubSnare channels to sound, we can add an authentic delay
add serious atmosphere to a fairly dry- our reverb before pushing Reverberate to our snare. Add Soundtoys EchoBoy to a
sounding dub track. Set your BPM to 140 CM’s IR Gain amount up to around -13dB. fresh FX send, then set the Mix to Wet and
before importing the files beginning with We can now make our reverb more set up a -6dB send from the DubSnare
“Dub…” from the Tutorial Files folder. interesting by using the kick and snare to channel. Now, turn LowCut to 12 o’clock
First up, we’ll add Reverberate CM to a trigger sidechain compression on the with the Echo Time set to 1/8-dotted,
new FX send with the Cathedral preset reverb send. Set the Attack to 0.1ms with then push Feedback up to 11 o’clock and
loaded and Dry/Wet mix set to Wet. a Release of around 200ms and a adjusting Groove to taste – we’ve gone for
Threshold of -40dB. a heavily swung feel.

> Step by step 19. Creating a bed of distorted reverb Send/return

sound design
As well as making it easier to
make effects fit in the mix, using
one or more effects on an FX
send/return can open lots of
sound design possibilities. One
simple example is putting a
pitchshifting plugin before a
delay to pitch the incoming
signal up by an octave; this’ll give
the delay a high pitched sound
that’ll instantly stand out
compared to the original sound –

1 2
Let’s chain effects to create a rugged, Turn off CM Verb’s dry feed, then set great for making easy-yet-
distorted background for a trap beat up -6dB sends from both the TrapRiff interesting vocal edits.
that interacts with the bassline, creating and TrapFX channels. Next, bitcrushing – Another great use of sends
extra movement. Set your BPM to 90 then add D16’s Decimort 2 (d16.pl) to the return and returns is for dub mixing;
import the files beginning “Trap…” from before setting the Resampler frequency expert dub mixers such as Lee
the Tutorial Files folder. First up, we’ll add to 8kHz with the Resolution on 8. After Scratch Perry and Adrian
CM Verb onto a fresh FX send with the this, set the Filter to HP and around
Westwood can play their mixing
Gold Plate reverb program selected. 300Hz to cut out low-end mud.
board like an instrument, using a
variety of send effects to create
classic dub effects such as
feedback loops. We can mimic
this effect in a DAW by routing a
signal to an FX send/return with a
delay placed on it before routing
the return’s output back into the
send’s input – once you’ve got a
good feedback loop going, you
can mute the original sound and
ride the delay’s feedback to get
that authentic dub flavour. Be
watchful of your levels though, as
it can be easy to drive the loop
too hard, resulting in undesirable

3 4
We can crunch our send up more by Finally, set up a 0dB send from the digital clipping.
adding WaveShaper CM and loading TrapBass channel directly to our FX
the Hard Distortion preset. After this, turn send. This’ll make the bass sound like it’s
the wet/dry down to around 50% to keep dominating the other sounds coming
the distortion in check. Next, add a from the FX send. To increase the effect
sidechained compressor to the send, further, try reducing the send volume
triggered by the TrapBass channel. Use a from the TrapRiff and TrapFX channels
fast Attack and a release of 75ms. until you find a balance you’re happy with.

42 / CompuTER musIC / December 2016

 creative effects / make music now <

> Step by step 20. Fattening a skinny sawtooth wave with an effects chain

1 2 3
We can use send/return-based Add Guitar RIg 5 (demo available from Now we’ve added some low beef to
processing alongside some resampling native-instruments.com) to a fresh our sound, we can make it sustain for
techniques to create a thick, full synth bass FX send, and set up a -6dB send from the longer with some delay. Add the Traktor
using just a short, plain sawtooth sample Saw channel to the new FX send. Now Delay to our chain before turning the
as a starting point. Start by opening your open Guitar Rig and start building a chain Dry/Wet mix fully to Wet with Feedback
DAW, setting the BPM to 174 and importing of processing by adding a Big Fuzz set to 92. This’ll add a nice tail to our
Drums.wav and Saw.wav from the distortion unit (from the Components sawtooth stab that we can tweak
Tutorial Files folder. First up, we’ll add menu). Push the Volume up to around 5 further by adjusting the delay Rate –
some processing on a send using Native with Tone set at 10 to add some depth. we’ve gone for a time of 1/4.
Instruments’ Guitar Rig 5.

4 5 6
Next, we’ll shape the tone of our FX To keep things tidy, get rid of the Saw Now we’ve loaded our sound in, we
send more by adding Guitar Rig’s channel and FX send, create a new can start shaping it further. First up,
Vintage Verb; again, set the Dry/Wet mix instrument track with a fresh instance of we’ll move the Start Offset and Loop
to fully wet before choosing the Expert Sleeper’s XFadeLooper CM – we’ll Start times to around 0.040 seconds to
Gold S Plate. This has given our sound use this to replay our audio bounce. After make the sound play from its loudest
some extra richness and depth, making it importing Bass.mid from the Tutorial point before adjusting the Amp envelope’s
more atmospheric and adding some lower Files folder onto our new instrument track Attack down to 0.05 s to give the sound a
harmonics that will come in useful later to trigger XFadeLooper CM, open the more natural attack. After this, we’ll use
on. After this, bounce the FX send to audio plugin and hit the Load Sample button the hard sync to add extra modulation…
ready for resampling. (top right) before loading in FXSend.wav.

7 8 9
We’ll start by setting the Hard Sync to We can split our bass using FX sends Finally, we’ll set up a prefade -3dB
4; this has made our bass more solid. for further processing. Add two FX send from our bass to FX2, and use
Next, tweak the Sync Detune LFO controls sends (one mono and one stereo) before LP10 CM to apply a 100Hz FlexHP filter to
to add some movement to our sound – setting up a 0dB pre-fade send from our the send – we now have a split bass that
turn the Sync Detune LFO Amount to bass to FX1 and pulling the bass channel’s we can process further by adding Sugar
1200 cents before adjusting the Speed to volume down to silence. Add DDMF’s Bytes WOW2 to the stereo send before
taste – we’ve gone for 0.409Hz. After this, LP10 CM to the mono FX1 send with a LP10 CM. Open WOW2, with its Mike’s
we’ll enable LFO Retriggering to give our 100Hz 24dB/oct FlexLP filter to roll off Drums2 preset, and set the Wet/Dry
bass a more consistent sound. the high frequencies, leaving us with a amount to around 11 o’clock to blend
clean sub tone. WOW’s processing in.

December 2016 / CompuTER musIC / 43

 Producer Masterclass

Sheridan
Tongue
Venture into the studio with this high-profile soundtrack
artist and discover the secrets behind the on-screen magic

46 / CompuTer muSiC / December 2016

 producer masterclass / make music now <

Master of the universe

Scoring documentaries for beloved and I was the first one on call. I worked Kit List
figures like Brian Cox and Stephen about 90 hours a week for hardly any
Hawking would be a dream job for any money for that whole year, but it was a HARDWARE
composer, but that’s just the tip of iceberg fantastic experience. By the end of the year I
when it comes to Sheridan Tongue’s CV: was engineering and mixing quite a lot of Apple Mac Pro
he’s also composed for BBC dramas such projects, as well as doing string Custom-built PC
Apple Mac Mini
as Silent Witness, DCI Banks, Hotel Babylon arrangements and keyboard playing for
RME Fireface 800
and a whole slew of other projects. We artists. Producers and bands would come in Audient ASP510
visited Sheridan in his stunning and realise I was quite a musical person at ADAM S3X-H
Cambridgeshire studio to find out more the back of the studio skulking around, and ADAM A5
about making music for national they gradually got me more and more
involved in projects. That led to me being SOFTWARE
institutions, and to take a sneak peek at
his latest endeavour, a very personal asked to go to a different studio with them Apple Logic Pro 9
album under his IN-IS pseudonym. when they went out to do the album for real. Avid Pro Tools 11
So, how did Sheridan manage to get So I made a lot of contacts, worked with a Vienna Instruments 5
himself into the coveted position of lot of musicians, and that gave me a Native Instruments Kontakt 5
composer for film and television? “Music springboard when I graduated to work in u-he Zebra
Camel Audio Alchemy
has always been a part of my family: my dad other studios as a programmer and Spectrasonics Stylus RMX,
was a conductor, my mum was a dancer, so keyboard player.” Omnisphere, Trilian
we had a music room in the house and I was Back in the dark days of the 90s, it wasn’t iZotope RX
always playing on the piano, listening to my practical for cash-strapped, aspiring
dad’s records, messing around on bass composers to have all their own kit, so SAMPLE LIBRARIES
guitar,” Sheridan begins. ‘I just knew I Sheridan took advantage of his
Custom Kontakt, Zebra and Alchemy patches
always wanted to do music. I did a music circumstances to make music on the sly: Spitfire Audio string, brass and wind libraries
“Whenever the clients went home I’d switch Native Instruments Komplete
the gear back on and work through the EastWest SD2
“Whenever the clients night until three or four in the morning,
recording my own material. Over the course
Cinematic Strings
Sample Logic Ambience Impact Rhythms

went home, I’d switch the of a number of years I managed to get a CD

of music together, and the opportunity
MICROPHONES

gear back on and work arose to engineer for a company that did
music for commercials: Natural Sound. I was
Neumann TLM 103
Neumann M147
engineering for them, and at the end of the
through the night” session I gave them a CD of my music and INSTRUMENTS

they loved it! They took me on board as a Moog Sub 37

composer, and I wrote music for Access Virus TI
degree at Surrey university, the Tonmeister commercials for about four or five years. Novation Supernova
course. The third year is actually a That led into short films and small Schimmel Upright Piano
Stringed, mallet and percussion instruments
placement year working in a studio. I documentaries, and finally I got a lucky
Novation and Kurzweil MIDI controllers
worked in a small 24-track studio called The break where I did a remix of a title track
Chocolate Factory in South London– that for a BBC drama called Sunburn, and that
was a great environment, with bands kind of gave me a foot in the door into
coming in and demoing albums. There was television drama.”
a really eclectic mix of things going on.” IN-IS is the nom de plume under which
Despite the glamorous environs, Sheridan has created his album project,
Sheridan had to put in some serious graft. and in this exclusive tutorial Sheridan
“At that stage I was basically a tea boy, shows us how he created the title track from
hoovering the studio whenever clients left, the album.

Video
maSTerClaSS
Sheridan shows us
how he created
the stellar title track
from his new IN-IS album
project Seven Days using
Apple Logic Pro 9
bit.ly/CMsheridanVid

December 2016 / CompuTer muSiC / 47

> make music now / producer masterclass

epic strings
For pure emotion, nothing can beat the sound of real strings:
“I mocked up the idea for the strings with samples and sent them
to my arranger Jake Jackson, who scored them out for a
seventeen-piece string section.” Sheridan reveals. The strings
were recorded in AIR Studios, directly into Pro Tools, edited in Pro
Tools and comped down into a master version in Logic. “For the
strings I wanted an ostinato that would give me this rhythmic
feeling throughout the track. Jake came up with the idea of using
string harmonics, which is why it’s a very delicate sound. I found
in the mix it didn’t work that loud or that dry, so I ended up
adding quite a lot of reverb to it and setting it back in the mix.”
Sheridan uses buses with Altiverb reverbs and a Logic Stereo
Delay, and EQs the
signal a little. To give
the strings a more
abstract feel, he re-
cords two takes of
them running through
a hardware Roland
RE-201 Space Echo
with different settings,
and layers these with
The strings were given an out-of-this-world feel with a Space Echo unit the dry sound.

Upright piano
The live piano part was recorded in
Sheridan’s own studio, on a Wilhelm
Schimmel upright piano, and is a
straight-up stereo recording. The part is
played quite lightly, and it’s softened
with a touch of compression courtesy of
Universal Audio’s Teletronix LA-2A
emulation for UAD. The analogue EQ
doesn’t stop there, as another UAD plugin,
this time the Neve 1081, is applied to boost
the 270Hz, 2.2kHz and 10kHz regions, with
a slight shelf off, down at 100Hz. “This is
one of my favourite EQs,” says Sheridan,
“I used to use these – the analogue
versions – on desks, and they’re just
fantastic-sounding EQs”.
Altiverb is called on again for the piano,
this time to bring in a hall ambience which
will set it slightly further back in the mix.
Sheridan also adds a touch of Soundtoys’
EchoBoy delay, to give the repeating
pattern more movement, and a small
amount of modulation on the delay time
gives the piano a slight chorus effect.

48 / CompuTer muSiC / December 2016

 producer masterclass / make music now <

Sheridan’s cosy Cambridgeshire studio

is decked out with choice hardware
synthesisers and outboard gear

delicate celeste
The live celeste part was recorded at AIR
Studios too. “You can actually hear it’s got a
squeaky pedal, which we only noticed mid-way
through the session!” Sheridan laughs. “One of
the assistants went out and got a can of WD-
40, but we never really got rid of the squeak!
In the end you can’t actually hear it in the full
mix, so we didn’t worry about it too much.”
At the end of the celeste part, Sheridan
automates its volume level to rise, bringing out Our featured artist likes to scoop undesirable lows and highs out of his recordings

the beautiful ambience of the room the part

was recorded in. “It’s just the ambience of AIR tree mics, and Altiverb is again used, on sends,
Studio 1, and it turned out to be quite a cool to create a natural-sounding ambience.
sound; it gives this ambience at a particular “Altiverb does small and large spaces
moment.” Sheridan uses Logic’s EQ to take really well – it’s probably my go-to reverb,”
some of the bottom and top end out of the Sheridan adds.
December 2016 / CompuTer muSiC / 49
> make music now / producer masterclass

Fleshing out a space symphony

Processed piano
The final element of the track is a
haunting processed piano sample
from Sheridan’s personal library. “It’s
been created by sampling a piano and
messing around with the sound. I’m
always drawn to haunting, darker
sounds, so it’s nice to use one of these
in this particular track.” Logic’s EQ cuts
bass out of this part to prevent it from
clogging up the low-end of the mix,
and two delays – one of which is really Programming a Rhodes hook
long – and a lengthy Altiverb reverb The track’s main hook comes from dry patch isn’t nearly spacey enough
the Scarbee A-200 Kontakt to fit with the track’s epic vibe, so
turn the already mysterious dry sound instrument, specifically the D.I. preset. Sheridan uses sends to add stereo
into a huge, queasy, unsettling wash This plays a lilting melody over the top delay, plus long hall and bright plate
of the strings. reverbs courtesy of Altiverb.
that provides something of a Sheridan rolls off the lows with a “The delays help with that
counterpoint to the relatively defined 24dB high-pass filter at 76Hz using movement and circular feel, and
Logic’s Channel EQ, then applies a can help an instrument sit a little
clarity of the other sounds in the mix. Teletronix LA-2A compressor to bit further back in the mix as well, a
smooth out the part’s volume. The great use for delays.”

50 / CompuTer muSiC / December 2016

 producer masterclass / make music now <

Tools of
the Tongue

Creating a wash of eerie guitar

Apple Logic Stereo Delay
The guitar washes are from Sheridan’s own slightly different ways, so I came up with “I love the simplicity of this delay; it just always
library. “One of the things I wanted to do this wash I call ‘Trem Gtr’.” The sound was works well. I usually have a difference in time
with Seven Days was bring in elements from created by picking a Fender Strat just below delay on the left and right channels – it’s really
the Wonders soundtracks, so people who the bridge with a quick tremolo, and is good for adding movement and a feeling of
came to my music from that could played via a Kontakt patch. Sheridan then energy to parts.”
immediately identify and recognise some of gives the part a suitably cosmic delay with a www.apple.com
the sounds. This is a patch I created for the touch of chorus-like modulation, and uses
series. I wanted to use guitar sounds in reverb to apply an epic sense of space.

Synthy Moog bassline

To beef up the low end, Sheridan calls on his
Moog Sub 37, which plays a heavy sub bass
Audioease Altiverb 7
that follows the string chords’ root notes and “This is currently my favourite reverb.
is processed with a transient designer to help The concert hall presets are fantastic – one
smooth out the front end. “It’s basically just of my favourites is Scoring Stage Todd-AO.
giving a bit more clarity to the start of the It’s also great for smaller, harder spaces like
notes”. Sheridan also adds a very subtle Brightened Chapel.”
touch of delay via a send, giving the sound a www.audioease.com
more stereo feel.

Universal Audio (UAD) 1176SE

“I used to use the original Urei all the time when
mixing in studios. This emulation is very good –
great for smoothing out live solo instruments,
or even synth parts that are all over the place
dynamically. It has a very transparent sound,
and it’s good at keeping parts natural.”
www.uaudio.com

Apple Logic Tremolo

“A fantastically simple plugin that pans tracks
either in time or randomly. I use it quite a bit
to give movement to various parts that are
sometimes too linear and dull… mainly for
panning, with it tempo synced to the track.”
www.apple.com

A haunting, glassy lead patch

Although the track already has plenty of a glassy pad created in u-he’s Zebra 2 synth.
interesting textures so far, Sheridan feels it The patch itself has a long attack and release
UAD Neve 1081
could have more melodic interest. “I wanted that give it an eerie, mystic feel, and once “The very first mixing desk that I worked on
another melody line coming in that could again delay and reverb are used to set this was made out of these EQs, and ever since I’ve
kind of weave around the textured and sound back in the mix – specifically a loved their sound. Fantastic for adding an airy
string parts. That again is part of my Soundtoys Crystallizer, another long delay, brightness to parts above 10kHz. It also has a
bespoke library.” The sound in question is and two Altiverb reverb sends. lovely warm sound at the bottom end.”
www.uaudio.com

December 2016 / CompuTer muSiC / 51

 > make music now / producer masterclass

Behind the scenes of a soundtracker

Having been in the game a good few
years, Sheridan has worked with more
than his fair share of classic kit, and while
“You have to have that beauty in the
things have changed a great deal since he
began working in studios, he feels his
track, but there also has to be a certain
grounding in vintage gear has given him
an advantage in the virtual studio age. simplicity at the start to pull you in”
Computer Music: You’re obviously a dab
hand with hardware as well as software… When you’re writing music for television, cope with this, and projects were getting
ST: “I had a great introduction into pro audio which is predominantly what I do, using slower and slower. About three years ago
with kit like the Urei 1176 and Tube Techs. analogue gear is a lot more time-consuming we went to a PC-based slave system using
For years and years, I’d hire things like that – although obviously it has its advantages in Vienna Ensemble, and now I’ve got a PC
in for sessions, so I got to know the sound of terms of sound.” with tons of RAM. Kontakt and a lot of the
these fantastic pieces of kit, which has samples are running off PC which is slaved
helped give me the solid foundation of : For lots of producers, CPU is the up via an Ethernet cable to the Mac in my
where I am now with recording techniques. I bottleneck, but composition has different main studio.
got really quick at the buttons on the Roland constraints. How do you keep on top of “When a project comes along, I build a
MC-500, and I did a lot on Steinberg Pro-24. projects crammed full of instruments? template that’s going to work. I put together
In my first year engineering there were no ST: “90% of my sample library is sounds that an orchestra of my own sounds that I want
samplers – people were sampling on an AMS I’ve created in my years as an engineer and to use in this particular job, and that stays
reverb, spinning in vocals using 1/4" and 1/2" arranger. When it first came out. I made a lot the same for that job. I might create a lot of
tape machines and recording on 2". of libraries for the EXS24, then moved to bespoke sounds, much like I did for Wonders
“Then there were the Akai S900 and Kontakt, and now I commission people to – I made quite an eclectic mix of guitar-
Roland S-760. I worked my way through a make libraries for me! based, more ‘pop’-style sounds, but also
lot of those transitions where samplers were “We’re always recording sounds in strings, orchestral elements a lot of beats…
coming out. Since Logic came out, that has between jobs, so we‘ve got this vast library that template was pretty huge!”
been my workhorse, and now we’ve moved of sounds. It became apparent that a Mac,
into plugins, the convenience is fantastic. – even fully RAMmed out – wasn’t going to : Sounds like an out-of-this-world
setup… worthy of Wonders of the Universe.
How did you get that particular gig?
ST: “I’d worked with producer Danielle Peck
on a few shows before, things like Battlefield
Britain and Twentieth Century Battlefields.
I’d used quite a lot of orchestra stuff but
there was also a contemporary feel – more
electronic beds and things. Danielle knew
that Wonders needed a composer who could
do all these different styles, but still have an
emotional thread in their music. When I
went into the first meeting, I didn’t know too
much about it – Danielle showed me a few
rushes, but I’d never heard of Brian Cox!”

: He’s got a musical connection too, of

course – were you aware of his association
with questionable 90s outfit D:Ream?
ST: “I had heard of D:Ream, but I didn’t really
know much about him as a scientist! When I
was shown the rushes, it was just Brian
talking to camera. The way it was shot and
the way he came across was very cool.
Danielle showed me the Cassini probe
footage; all black and white and grainy, and
I just thought ‘Wow, this is going to be really
cool.’ It was a really fun project.”

: Fun, sure, but it must be a pretty

big job when you’re soundtracking…
‘the entire universe’!
ST: “There were challenges because the
scope was just vast. I can remember there
was a sequence about the Iguazu Falls,
where Brian is talking about the cycle of
water droplets… and we end up with these
majestic falls. I didn’t have a budget for a big
Photography Alex Kozobolis

orchestra as well, so there were a number of

constraints. I started off on that track doing
more of a drum-based thing – going for the
energy. I played it to Danielle, but she
thought it needed to be more… epic; so I
The string recording sessions for Seven Days, taken at AIR studios went away and started playing around with

52 / CompuTer muSiC / December 2016

 producer masterclass / make music now <

ostinato figures, repeating motifs and things myself – something a bit different from other
like that to give it the energy, then on top of things that I’ve done. I had such a fantastic
that I ended up putting on quite a big string response from people around the world
section and a theme. It ended up being about my Wonders soundtrack. Someone
used in a number of scenes as a sort of once told me, ‘I work out in the gym and I
‘wonderous, feel-good amazement’ theme, listen to this Iguazu Falls track, and I time it
and it worked with Brian’s enthusiasm”. so that at the peak of my workout this track
is playing’. I thought, ‘Oh my word, that’s
: How does the compositional process amazing, that’s so cool!’ Things like that
differ for soundtracking, as opposed to planted the seed of the idea.
simply writing music for music’s sake? “I decided that if I did it under a different
ST: “You have to have that beauty in the name, people could come at it fresh. They
track, but there also has to be a certain could discover me without thinking of
simplicity at the start to pull you in. I always ‘Sheridan Tongue the soundtrack composer’.
love sparseness – it pulls you in but it also With the track Seven Days, I thought it’d be
gives you room to evolve. I’m inspired by nice to have one track on the album where
sounds and timbres, so often I might start fans would go, ‘Oh yeah, that’s Sheridan
with a very simple patch, like a processed Tongue’. I wrote it as a thank you to all the Sheridan Tongue, Iguazu Falls
violin or something – or processed, sustained fans of those shows. When I played it to bit.ly/STigfalls
guitars – just to give me a bed. Once you’ve Jake Jackson, my engineer at AIR, the first IN-IS, Seven Days (One Bit Remix)
got these washes as a starting point, you day we went in to record the strings, he bit.ly/STsev1B
can begin to build orchestral things over it recognised the reference immediately.
and take it to another level.” Seven Days could easily have been in one of WWW

www.sheridantongue.com
the Wonders series, but from then on, the
: What was the inspiration behind the other tracks are quite different.” soundcloud.com/in-is
IN-IS project?
twitter.com/SheridanTongue
ST: “I’ve written music for so many shows, Seven Days is released October 24th on
for so many other people and productions, iTunes, and in other good stores including facebook.com/sheridantongue
I just thought I’d love to do something for a physical release on October 28th

December 2016 / CompuTer muSiC / 53

 > free software / mercuriall u530 cm

download

> Free software

Get the plugin and the video
tutorial on your PC/Mac at
vault.computermusic.co.uk

U530 CM
Feel the heat with this blazing guitar amp
simulator from Russian DSP experts Mercuriall
There’s nothing quite like the roar and fire Just like the full thing, U530 CM is based on Mercuriall are at pains to point out that
of a raging guitar valve amp… nothing Engl’s versatile E530 preamp, with a two- their emulations do not rely on waveshaping,
that is, except a state-of-the-art, next-level channel design that can handle crystal-clear nor do they employ tone-matching techniques.
emulation, and that’s exactly what you get cleans, hard-rocking crunch, singing solos, and Instead, neural networks are trained to solve
for free with this month’s Computer Music full-on high-gain distortion with ease. The the tough equations required to model all
magazine! We’ve teamed up with the plugin also includes a modelled valve power components in real time… but if that means
distortion-obsessed developers at Mercuriall amp stage with presence control, lush stereo nothing to you, then just take a listen – we’re
to bring you U530 CM, a jaw-droppingly chorus, and a 4x12 cabinet simulator with sure you’ll be floored by the astonishingly
realistic guitar amp simulator plugin in VST, adjustable mic position, dialled in using the authentic sound belted out by your copy of
AU and AAX formats, and based on the full graph-display or the individual sliders to set U530 CM!
commercial Tube Amp Ultra 530 plugin. depth and position. www.mercuriall.com

Lo CLeAn BooSt inPut VoLume

CLeAn ChAnneL CAB Boosts the clean signal
toggle the cabinet simulation Set the incoming
includes a Bright when Gain Lo / hi is signal level – push it
switch for boosting – useful if you wish to use set to Lo
another cab modelling plugin up for a clean boost
above 2khz

Stereo ChoruS
Add stereo width
or an obvious
chorusing effect

LeAd ChAnneL
dual midrange outPut
controls and VoLume
Contour switch Clean control
give real tonal of the plugin’s
flexibility output level

Power AmP CABinet

CLeAn LeAd PreAmP defeAt
ControLS Position the mic
Select the active channel, turn off the Clean or
Add treble Presence, raise on the virtual
Clean or Lead Lead channel
master for fullness, or 4x12 speaker cab
disable it with the switch

56 / CoMpUter MUsiC / December 2016

 mercuriall u530 cm / free software <

> Step by step 1. Getting started with Mercuriall U530 CM

TuTorial
Files

1 2 3
To install Mercuriall U530 CM, simply U530 CM is a twin-channel amp The next four knobs are the Lead
run the supplied installer for your featuring Clean and Lead channels, channel’s tonestack, controlling the
system, Mac or PC. In this introductory selectable via the Clean Lead switch, balance of frequencies. Bass adjusts the
tutorial, we’ll explain the basic controls. To which lights up red when Lead is active. low-end response. Lo Mid (500Hz) and
follow along, load Demo Backing.wav Leave it on Lead for now – we’ll check out Hi Mid (above 1kHz) add crunch and
and Demo Guitar DI.wav onto stereo the clean tones later. The lower-left row of definition, while Treble adds sizzle and
audio tracks in your DAW, loop them, then knobs controls the Lead channel. Increase bite. Just like a real guitar amp, the exact
place a U530 CM on the guitar track and a Lead Gain for extra drive and distortion – settings needed to create a certain tone
Barricade CM limiter on the master bus. back it off for more dynamics and crunch. can sometimes be counterintuitive, so
Solo the guitar track to hear it more clearly. do experiment!

4 5 6
Contour is a further tone-altering Lead Volume sets the level of the The next three controls relate to the
tool. By default, the red LED lamp is signal going into the Power Amp Power Amp. Presence adds treble
active, which means an extra boost is stage, which we’ll look at soon. The presence, achieved as most real valve
applied at 300-500Hz and 1-2kHz; click it Gain Lo / Hi button switches the input amps do using negative feedback. Master
again and the orange E430 LED lights up, sensitivity. When used with the Lead is an overall power amp volume control
emulating the tonal response of the Engl channel, it offers a choice between affecting both Lead and Clean channels –
E430 Tube Toner, which is the crunch and high-gain distortion tones. increasing it ups the level and adds fullness,
predecessor of the Engl E530 preamp that Preamp Defeat switches off the preamp compression and saturation. Power Amp
U530 CM is based on. Click once more and – that’s Clean or Lead – but leaves the disables the power amp modelling.
the Contour feature is disabled. power amp stage active. Output Volume sets the output level for
the plugin without changing the tone.

7 8 9
The Clean channel works like the Cab toggles the cabinet simulation, At the bottom, you’ll find the cabinet
Lead one, but with less gain, just one which we’ll explain soon. Lo Clean simulator, modelling a 4x12 speaker
midrange control, and an added Bright Boost is a level boost for the Lo gain mode cabinet fitted with Celestion G12T-75
button, which boosts above 2kHz. Enable of the Clean channel. Input Volume lets drivers. To dial it in, drag the circle vertically
Clean, and in the upper-right panel, make you adjust the level of the input signal to adjust the virtual microphone’s distance
sure the stereo Chorus is activated, and before it hits either channel. As with any from the speaker, and horizontally to
increase Mix to introduce the effect. Turn control, Alt- or double-click Input Volume move the mic left and right. Alternatively,
up Depth to intensify the modulation and to reset it to default. Now disable Chorus there are sliders for each. Note that the left
Speed to set its rate. Chorus can generate and switch back to the Lead channel. and right sides of the speaker give
stereo width at its lower settings. identical sound, ie, the grid is symmetrical.

December 2016 / CoMpUter MUsiC / 57

> free software / mercuriall u530 cm

> Step by step 2. Instant metal mixing with U530 CM

TuTorial
Files

1 2 3
Now that we’re familiar with U530 The backing track was created with Play the song from bar 21, as that’s
CM’s controls, let’s use it to mix the drums programmed using Toontrack’s where the rhythm guitars come in.
guitars for a hard-hitting metal track. excellent Metal Machine EZX expansion The knobs in U530 CM don’t have
Create a new 180bpm project and import for EZdrummer, and a bass guitar part numeric read-outs, but we’ll refer to the
the WAV stems beginning “Metal…”. If your made up of two tracks: one clean, DI-ed markers around their edge as values
DAW has separate mono and stereo track track and the other distorted with U530 0 to 10. We’d like more lower-midrange
types, load the “Rhythm…” files on mono CM. There are four guitar tracks, so let’s grind and greater treble presence. So, turn
tracks, and the rest onto stereo ones. This start with the first, Rhythm Left – put Lo Mid right up, Hi Mid to 6, and Presence
lets us use U530 CM’s stereo chorus on the U530 CM on it and mute the other guitar up to 2.
clean and lead tracks while keeping CPU tracks for now.
usage minimal for the mono rhythm tracks.

4 5 6
It’s sounding solid, but let’s turn up Now let’s position the mic on the Unmute the other Rhythm guitar track
Lead Gain for a more consistent speaker cab – sweep it around and and copy U530 CM over to it, so both
distortion texture – we increase it to just take a listen. Guitar tone is a very personal tracks have the same amp settings. These
past 8. Be careful with this control, as too thing, but we like it on the boundary two tracks are completely separate takes,
much drive – especially with a loud input between Cone and Edge, about 1 inch and the slight playing discrepancies
signal – can end up sounding less powerful from the speaker. Just like miking up a real between them gives a double-tracked
and punchy. For midrange roundness and guitar cab, there are a few overbearing effect – pan them hard left and right to
smoother treble, increase Lead Volume frequencies and resonances, but we’ll take open the stereo field right up! Route both
and Master to 8, simulating a valve power care of those later with EQ. What matters Rhythm tracks to a group bus so we can
amp being driven hard. To balance the for now is that we like the basic tone and it easily apply further effects to both guitars
levels, turn Output Volume to 1. gels with the mix. in one go.

7 8 9
There’s a megaton of bass energy We add CM-EQUA 87, turn off its Next, add CM Verb with the Studio A
coming off the guitars – it sounds heavy Cut and Limiter, then apply tight Reverb program, Reverb Time at 0.25,
as hell in isolation, but it doesn’t give the cuts at the problem frequencies: 180Hz Low cut-off at 160, and Reverb Level at
kick drum and bass guitar enough space to (slight booming resonance), 2120Hz -6dB. Add Barricade CM with Stereo Link
do their job in the mix. Stick a Satson CM (main harshness region), and 7914Hz at 0% (so channels act independently), and
on the guitars group bus and roll the High (cheap-sounding fizz). Use the Q and Out ceiling at -9dB, so the limiter prevents
Pass filter up to about 11 o’clock – these gain settings shown. Take care when the palm-muted “chunks” from jumping
filters are very gentle, so there’ll still be cutting guitar resonances – it’s easy to out too much. Stick Program EQ CM on the
plenty of low-end grind. Next, let’s treat go totally over the top and kill the tone’s master bus, before a Barricade CM. See the
those cabinet resonances… character and attitude. video for more mixing insights!

58 / CoMpUter MUsiC / December 2016

Push the tone
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To take a step up from U530 CM, check out the
full Tube Amp Ultra 530, which offers several
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Spark, which models four Marshall amps, four Check out the
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based tone shapers, emulating
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www.mercuriall.com
December 2016 / Computer musiC / 57
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SUBSCriBe now – tUrn to PAge 88
 big room synths / make music now <

Big
Room
SynthS
Learn how to design attention-seeking
hooks that slice through the mix with
sound-design specialist Owen Palmer

So you want to craft those colossal, powerful party music (the clue is in the
mix-dominating synth sounds heard name, ‘big room’), or they may have
in electro and progressive house, underestimated the level of difficulty in
played on big room dancefloors by the producing music that satisfies the high
likes of Afrojack, Hardwell, or Dimitri production standards that the top DJs in
Vegas & Like Mike? You know the kind the field demand.
we mean - those huge synth riffs that Fear not, however, for we’ve
jump out of your speakers; or when enlisted the talents of Owen Palmer
Ex- expert and
you wear headphones, they make it true geek Owen
– top dance music engineer and ex-
seem as if the space between your Palmer reveals his expert – to reveal the secrets of the
ears houses a whole galaxy of glorious synthesis secrets artform. Owen’s no dabbler in the EDM
sound. Synth riffs so bright and deep arena, having done sound design,
that you instinctively scan the vicinity programming and engineering for
for natural disasters. numerous underground artists, helping to win
While some may have dismissed the big room them the support of names up and down DJ Mag’s
phenomenon as being sonically homogenous and venerated Top 100 DJs list, from Tiësto to Armin
melodically simplistic compared to other dance Van Buuren and beyond. Now it’s your turn to
genres, they may have missed the point of fun and enter the big room...

December 2016 / ComputeR musiC / 59

> make music now / big room synths

Bigroom > Step by step 1.Synthesisingahugedetunedchordriff

synthbasics
The first of two main objectives
to keep in mind when building a
synth sound for your EDM banger
is to tease out as much of the
character you’re looking for
straight from your chosen synth.
Do you want the bass raw and
buzzy? Or smooth and wide? TuTorial
Should the lead resemble a flute, Files
or perhaps a GameBoy?
This task might be ‘the easy
bit’, since simple synth patches
tend to lend themselves to the
boldness usually expected of big

1 2
room tracks. Also, the majority of To initialise Synapse Audio’s Dune 2, The big DJs want music that wins an
sounds you’ll hear on modern click Patch (at the top of the display), instant positive reaction from crowds;
releases trace their roots back to then Initialize Patch. This gives us a basic nothing that requires several plays to get
the late-1990s to early-2000s polyphonic sawtooth, but you might want into. Simple chords, then, are pretty much
trance era, which owes a great to increase the polyphony (top right-hand the expectation, so build a riff based on
deal of its character to the virtual corner) if you intend on playing more than basic triads. To get something unique, you
four notes at a time. This is a great starting can always be creative with the rhythm
analogue synths of the day
point, but we’ll need a MIDI chord and transpose individual notes in octave
– primarily Roland’s JP-8000 and sequence next... intervals to find chord inversions you like.
Access’ Virus series.
The second objective is to
make sure your sound fulfils the
sonic obligations of its role in the
mix – everything needs to appear
to be as big as possible. To this
end, it’s not uncommon to use
heavy-handed EQ and/or
distortion. Where necessary, it’s
also perfectly acceptable to stack
layer upon layer of instruments
to dramatically increase the size,
depth and power of an otherwise
mundane synth part.
In reality, big room producers

3 4
like Avicii, The Chainsmokers and In Dune 2’s oscillator section, 7 notes There’s not quite enough ‘big room’
Afrojack rely on synth presets to Density and the Nonlinear Tuning sheen. Soften Dune 2’s Amplitude
get started, and then focus more algorithm give us the classic JP-8000- Envelope with low Sustain and medium
on tweaking, processing and style super-saw stack, but we can refine Decay/Release. An easy trick is to throw
layering to nail their sound. the character further with the Amount on Xfer Records’ free OTT multiband
There’s no shame in this, as long and Detune controls – reducing both compressor, deactivate the upward high
as you’re getting great results. gives us a more focused, less fuzzy band and reduce the Depth to taste. We
texture. For stereo width, we can increase follow that with EQ cuts of around -3dB at
the overall Unison Voices Amount to 2, about 350Hz for openness, and at about
set Detune to 0 and Spread to 100%. 4-6kHz for smoothness.

> Step by step 2.Stackingandlayeringsynthparts

1 2 3
Continuing where we left off in the We probably don’t need as much of Duplicate the first Dune 2 again, but
previous walkthrough, we have a nice the new layer as this; drop the level by this time whack Osc 1 up 12 Semitones
full-frequency chord, but a very vanilla about 6dB relative to the other layer, (an octave). We can also maximise both
character. Duplicate Dune 2 and skip helping them to merge into one seamless the stack Amount and Density to
through presets on the duplicate. Under texture. Notice that soloing either layer produce a sweeter character. Use the
the Leads category, the Beyond Pike KS results in a less full and exciting sound. Filter Envelope with minimum sustain,
preset sounds nice – a bit like an electric We can definitely carry on layering to give as shown, to reduce fizz in the notes’ tails,
piano layer. Let’s just navigate to FX Bus 1 an even bigger and more powerful overall then turn down the channel’s output to
and deactivate both Delay effect modules. impression, though... balance it with the other layers again.

60 / ComputeR musiC / December 2016

 big room synths / make music now <

> Step by step 3.CreatingEDM-appropriatepercussiveriffsandchords

1 2 3
Plucky synths have long been a dance We’ll find a preset that’s suitably bright Actually, we could still make the sound
music staple. Virtual-analogue plucks and harmonious. We’ve landed on the bolder. A multiband distortion plugin
were dominating the big room sphere just 5. Tricky Marimba preset, which makes a (in this case Quadrafuzz 2) allows us to
a few years ago, but these days plucks great starting point. Alternatively, you drive just the range between about 1.5kHz
tend to be less synthy and more evocative could use a sample library of your choice. and 10kHz, increasing the instrument’s
of real acoustic instruments such as harps We’ll deactivate Chromaphone’s inbuilt bite and hardness. Leaving the other
or marimbas. AAS Chromaphone is a delay effects to prevent the instrument bands alone means our distortion is
physical modelling synth designed to let from cluttering up the space between focused and controlled – the plucks are
you emulate these types of instruments. notes in our riff, but the reverb can stay. potentially ready to slice through a mix.

4 5 6
For more clarity, we can make an EQ Let’s layer in the big synths from the The Ultra Maximizer 3 active preset is
cut in the lower mids to tame the previous walkthrough. All together, it’s ideal, provided we click Edit to tweak
resonance of the instruments’ sounding pretty nice, but I think the overall the Input Gain, Slope and band levels to
fundamental frequencies. With a carefully aesthetic needs to be more extreme, taste. We can also reduce some muddy
targeted EQ cut, we can make sure that intense and loud. Let’s group all the synths frequencies (around 275Hz) and hissy
the lowest notes in our riff sequence aren’t into one bus to squash them together. For frequencies (above 12kHz) using an EQ
thinned-out too much. this purpose I like to use a multiband placed ahead of the multiband limiter, and
limiter like Melda’s MMultiBandLimiter. a tape emulation on the end for softness.

5trackswithepicbigroomriffs

Showtek, DmitriVegas& SwedishHouse MartinGarrix, deadmau5,

We Like To Party LikeMike,The Hum Mafia, Don’t You Animals Avaritia
Worry Child
An obnoxiously catchy riff. After the breakdown This is one of those records Rather than the typical,
Under the bonnet it’s clearly parodies the humming ritual The anthemic farewell song that changed the course of a hardstyle-influenced
classic virtual analogue from The Wolf Of Wall Street, from Sweden’s progressive scene, almost killing off distorted kick drum, the
synthesis, sawtooth-based, we’re treated to a hard, house super group may be progressive and electro, and affable Canadian mouse has
with a dollop of distortion. on-beat riff. Notice the mellow, but it’s still narrowing big room’s focus opted to lay a growly bass
The appeal of the riff pattern insanely wide synth part and considered a big room towards more aggressive note over the kick to similar
itself has a lot to do with its the aggressive use of landmark. We can hear drops. The breakdowns are effect. There’s no big dirty riff
rhythmic interplay with the distortion on some layers. mostly sawtooth-based again trance-influenced, but all over the drops, but the
big kick drum, which is then The slightly nasal quality of synthesis, plenty of unison curiously, the main riff in the breakdowns make glorious
accentuated by a sidechain- the lead points towards and most likely some very drop is actually a distorted use of none other than our
compression-like effect. multiband distortion. fast pitch modulation. percussion sample. friend, the sawtooth lead.
bit.ly/ShoWLTP bit.ly/DVLMthehum bit.ly/SwedDontYou bit.ly/MGanimals bit.ly/d5Avaritia

December 2016 / ComputeR musiC / 61

> make music now / big room synths

10toptipsfor 03
Keep delays light
When using delay effects, you’ll
probably have more luck using
their built-in filters (compared to

monstersynths
those built into reverb plugins). To take filtering
further, helping ‘what’s being delayed’ to stick
out over ‘the delay itself’, you can gently scoop
out muddy frequencies with an EQ in the delay
chain. An often overlooked trick is to set timing
in milliseconds, rather than the usual host sync
timing. By making the delay timing just slightly

Now that we’ve had a play with slower than the BPM of your track, you’ll actually
avoid delay echoes landing concurrently with
dry elements in your track, giving more space
the fundamentals of big room and clarity to the instruments, and a greater
sense of depth and size to the overall mix.
Get creative with delays, too. Rather than
synthesis, let’s get into some settling on one static setting, automate or
modulate filters, feedback, mix level, etc,
to make sure the delay effect contributes
pertinent production tips… appropriately to the overall energy flow
of the track.

01 02
sideChain Keep ReveRBs
eveRything Clean
Big room artists routinely use ...speaking of reverb, you’ll need
sidechain compression on most to make sure any reverb used
– if not every – channel in a production. The sounds nice and clear. This starts right at the
first reason to do this is to establish the kick start, by choosing your plugins and presets
drum as the centre of groove in a track. carefully to begin with – but there are also
With compressors on all of your synths triggered things you can do to make sure your use of
by the kick, it’s almost as if your synths bow reverb doesn’t result in a cloudy mix. For
down every time the kick sounds. For fine instance, it’s a good idea to precede reverb
control over the release shape, many find send effects with high-pass and low-pass filters.
this easier to achieve using a dedicated plugin Most good reverbs have built-in filters, but they
such as Xfer Records’ LFOTool or Vengeance tend to be quite gentle, suitable for working
Sound’s VPS Multiband Sidechain, rather than with vocals or acoustic instruments. For
using an actual compressor set up with a obnoxious big room synths, you may find you
sidechain configuration. Another reason to need more extreme filtering. Also, use as much
use extensive sidechain compression is to pre-delay as you can get away with, as this helps
make more room in the mix so that, for with the sense of size and clarity. It’s quite
example, reverbs only reach their full power common to use pre-delay times in excess of
between the notes... 100ms for lead synths. Your reverb’s built-in filtering may not be steep enough

04
inCoRpoRate aCoustiC
instRuments
There are very few dance genres that
don’t use at least a few traditional
musical instruments from time to time. You’ll hear
plenty of big room house tracks with beautiful cello
parts, full string sections, big timpani, and gigantic
brass stabs. You’ll find these add a particular texture
and a sense of vividness to your productions. For
drops, instruments with bright and percussive qualities
tend to work best, so a twinkly piano preset with plenty
of compression might be just as good as that synth
Real instruments have actual uses in big room patch you were intending.
62 / ComputeR musiC / December 2016
 big room synths / make music now <

05
Chain effeCts
CReatively
Whether you use synths or
acoustic instruments, you can
bring them into the modern era with creative
use of effects plugins. For example, if you insert
a reverb with a very low wet mix, then stick a
compressor after it, you get a similar effect to
sidechain compression on the reverb, where the
reverb violently rushes in to fill the void between
notes. Likewise, EQing on the way into distortion
can dramatically change the character you get.
This allows you to get a lot more use out of your
distortion plugins – especially if you’re unafraid

10
to use some heavy boosting!

06
layeRs of steReo synthesis
distoRtion
To avoid compromising the size If you want a really wide, clear mix, it’s
and clarity of your synth parts,
you might opt to only distort a layer, and keep a seldom best to treat monaural synth
clean layer. Or if you don’t want to layer, you can
use a dry/wet control, if your distortion plugin
channels with stereo-ising effects. Rather,
has one, to create parallel distortion. For really
interesting sounds, you might layer different
dive into the synth and program stereo width into the
distortion effects on top of each other, just
distorting gently each time. To do this
patch at the oscillator level. The easiest way to do this,
successfully, make sure the distortion types are
as diverse as possible: from waveshaping, to
which almost always sounds great, is to use stereo
hard-clipping, to bitcrushing. unison. If you find it difficult to make stereo unison

07
voCodeRation work on a particular synth patch, then you can usually
Ever wanted to combine two or
more synth sounds into a crazy use a unison layer on an additional synth track for a
hybrid noise? Well the vocoder
might just be the answer you’re looking for similar effect. For exaggerated width, use a stereo
– it’s not just for cheesy robot vocals.
Vocoding one synth sound with another is an expander such as Voxengo’s free MSED. If you feel you
excellent way to explore sonic textures not
offered by simple virtual analogue synthesis. need to narrow the stereo image, it’s often best to
You might use vocoders to produce interesting
drums or incidental effect noises. Try using
target a mid/side EQ at the problem area.
stereo white noise as either the carrier or the
modulator – you can produce some really
exciting textures. Even using a vocal as the
modulator, there’s a world of untapped
potential here.

08
plugins such as Illformed’s Glitch, iZotope’s
glitCh to the win Stutter Edit or Sugar Bytes’ Effectrix. The
As with acoustic instruments, plainest of glitches have arguably lost most
synth performances really come of their edge through overuse by now, but
to life with plenty of expression by creatively stacking effects on top of each
and articulation. In the big room arena, glitchy other, you can produce modern alternatives.
effects such as stutters, rewinds and tape stops For example, you might use a tape stop effect
have become the default way to add interest with a gated reverb, sweeping resonant high-
and excitement to otherwise pedestrian MIDI pass filter, bitcrushing and a phaser effect,
sequences. While you can sometimes achieve all at once.

09
these sorts of effects with very meticulous MIDI
editing, for the most part they’re achieved with BespoKe effeCt
noises
You can derive incidental
effect noises from your synth
parts by rendering them to audio and treating
them to an assortment of FX processes.
For example, you might render the first note
of your riff to audio, apply a 100% wet reverb
tail to it, then reverse that and stick it ahead
of your riff in the arrangement to create the
classic reversed reverb effect.
For another effect, you could sample a slice
of your vocal and pile on an assortment of
plugins to distort it beyond recognition, then
timestretch it by a ridiculous factor to create
Get expressive and interesting lines using glitch plugins some wicked ear candy. Render synth parts to audio to create ‘interactive’ effects

December 2016 / ComputeR musiC / 63

> make music now / big room synths

> Step by step 4.Harddropsynths

1 2 3
When it comes to producing hard, big I’m using Xfer Records’ Serum synth, Our plain sawtooth lead is sounding
room house drops, simple riff patterns which can be initialised by selecting very weak, sonically, at this point. First
that crowds can get into on the first listen Init Preset from the menu at the top-right let’s give it some stereo width by pushing
are essential. The rhythm of a riff should corner of the interface. An easy trick to up the number of Unison voices to 2. Now
work well in conjunction with the four-to- make such a boring riff feel more lively is we have a couple of detuned saws that, by
the-floor kick drum. Here I’ve slung to navigate to the Voicing section, engage default, are hard-panned in either
together a two-bar riff, consisting of six Mono, Legato and Always, then increase direction. It feels a bit much, so let’s
almost equidistant notes per bar, the Porta parameter to taste. Judge this reduce the Detune amount. Around 0.20
spanning a pitch range of one octave. It’s only in the context of the full mix. sounds best to me.
not that exciting, if I’m honest...

4 5 6
There’s a small issue in the fact that While we still have quite a way to go We’ve actually gone too far and
the left channel is tuned slightly sharp with this lead patch, at least we’ve drowned out the rest of the mix. But
and the right channel is tuned slightly flat, achieved a great deal of width, without this is a good thing, as we’re now in a
creating a nice contrast between the having to rely on artificial stereo position to rein in the lead and restore
channels, but feeling quite lopsided. Let’s enhancers that are renowned for balance. I’ll do this by rolling off frequencies
duplicate this instance of Serum, swap the exhibiting awful artefacts. Let’s focus on above 10kHz going into the distortion,
sawtooth waveform for a square, and then general presence next. Group both then I’ll follow with Xfer Records’ free OTT
swap the left and right channels on the Serums together, whack on a distortion multiband compressor, with a 50% depth,
copy to counteract the pitch imbalance. plugin. Now that’s some serious power! and Cableguys’ VolumeShaper for a
pumping effect.

7 8 9
The lead sound is still very present. If For processing, we’ll use OTT again in Finally, for more style and flavour, we
we duplicate the original Serum, we its default state but with the Low band can sprinkle our drop with touches of
can easily make another layer to fill out turned all the way down, followed by some orchestral instruments. I’m using my
more space in the mix. Start by tube-style distortion, then a touch of favourite Kontakt library: Versilian Studios’
maximising the Unison voices and setting reverb and a copy of the VolumeShaper Chamber Orchestra 2, which has a huge
the Detune to around 0.60. Then copy instance from the leads bus. You can selection of instruments and convincing
those settings on Osc B, tuning it up +1 precede this whole chain with an EQ to articulations. It’s also affordably priced
Octave and reducing the Level to around sculpt the sound how you want it. and very light on system resources. Using
about 50% – this adds some intensity. percussion and brass ensembles help
bring the production to life.

64 / ComputeR musiC / December 2016

BaCk issues
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76 / Computer musiC / August 2013
virtual guitar amps / make music now <

VIRTUAL
GUITAR
AMPS
Plug in to a universe of
tone and expression
as we expose the
inner workings of the
world’s best simulators
Revolutions in music don’t come along very
often, but when they do, they change the way
we listen to and make music forever. The guitar
amp was originally devised for one reason:
loudness. With all the extra decibels the amp
afforded them, guitarists were able to take
centre-stage, and the rest is rock ‘n’ roll history…
but in many ways, times have moved on.
The guitar amp is still alive and well, of course,
but thanks to digital technology, guitarists now
have the ability to load up a legendary rig right
inside their DAW. And they’re not the only ones
who benefit – virtual amp emulations are there to
be used and abused by musicians and producers
working in any genre. The playing field is wide
open, and anybody can put together a killer stack
to put the heat into a tune – whatever the genre.
But virtual guitar amps can still seem a little
impenetrable. Developers have to balance the
needs of guitarists, who want a familiar interface to
keep them in their comfort zone, and producers,
who want the bells and whistles of a high-tech
digital setup. By trying to please the two sides, it
can be easy to alienate both.
What you need is some kind of well-respected
music production publication to step in and bridge
the gap… which is where we step in, of course! Over
the next few pages, we’ll start with a basic intro to
the different types of amp simulations and what
they mimic, and we’ll show you how to get the best
out of them for any situation. So whether you’re a
guitarist looking to up your game in the virtual
world, or an electronic producer after a new
universe of tone, we’ll help make the connection.
As always, look out for the ‘Tutorial Video’ icon
during this article to see and hear it first-hand in
our accompanying videos, which you can grab
from vault.computermusic.co.uk or tap to stream
over the internerd in our iOS edition. But enough of
our yakkin’… whaddaya say? Let’s boogie!

December 2016 / Computer musiC / 67

> make music now / virtual guitar amps

> Step by step 1.Howabasicvirtualamprigworks

1 2 3
The simplest virtual guitar rig More complex virtual amps comprise Virtual cabinets usually incorporate
emulates a ‘combo’ amp, which is an a separate amp and one or more some form of mic adjustment, ranging
all-in-one amp combining preamp, tone cabinets. These amp heads sometimes from pre-captured recording chains to
controls, master output level, loudspeaker have more than two different channels, flexible mic positioning and selection. As
and sometimes vibrato and reverb. The ranging from clean to very distorted you move the mic across the cone, you
preamp gain sets the drive and hence how (called ‘high gain’ channels), and you often can hear how the tone goes from bright at
distorted the sound is, and tone controls have a choice of cabinets, each of which the centre to more muted at the edge.
adjust the overall EQ. Some amps include affects the overall tone. GrindMachine CM, Similarly, switching between dynamic,
two separate channels – one which is part of Plugins, has five high-gain amp condenser and ribbon mics also impacts
clean and one which is more distorted. types and ten cabs. the sound.

4 5 6
In more advanced plugins, cabinet When recording guitar amplifiers, it’s Pedal effects are typically positioned
modelling now includes further not uncommon to capture some of the between the guitar and amp input, so
enhancements such as cone selection, room ambience, as it adds depth and the signal is processed prior to
microphone angle and microphone width to the overall sound while retaining amplification. By default, in your virtual
distance. You may also get two or more the focus – and some virtual amp plugins rig, pedals are the first processors in the
front microphones, or even a rear go as far as emulating this. It may be a chain. Common pedal effects are
microphone, with phase inversion of one separate set of adjustable ‘room’ mics, or distortion, phaser, chorus, compressor,
or more of the mics. Overall, these provide it may simply be added to the cabinet mic volume and wah-wah. Delay pedals are
many ways to tweak the sound, just as you as you move it further away. also available, but it’s often easier to use
would with a hardware amp. an effects loop around the amp.

7 8 9
There are no hard and fast rules about Rack effects are common in more Another popular option for rack
pedal order, and a virtual pedalboard complex rigs, adding final finesse such effects is to use them in a loop or
allows quick re-ordering to assess as EQ, compression and reverb. Not all insert at the amp. This works well for
differences. Common sense tells us that a virtual amps include them, and signal flow delays and reverb, but once again options
compressor may bring up the noise floor, positioning options vary. Here, in vary between plugins. Here, in Audified’s
so it may be better before rather than after Overloud’s TH3, we can position the racks AmpLion Pro, the separate pre-amp and
a noisy distortion. A typical before-amp anywhere in the signal flow, including power amp configuration allows us to add
pedal order would be wah, compressor, before the amp. Flexibility in some plugins a rack effects loop at the pre-amp and
overdrive/distortion, modulation, volume is more limited, however. before the power amp.
then delay.

68 / Computer musiC / December 2016

 virtual guitar amps / make music now <

> Step by step 2.Strategiesforrecordingwithvirtualamps Signaldelay

Playing live through a virtual
guitar amp plugin will introduce
round-trip latency (the delay
between when you play and
when you hear what you play).
The size of this latency will
depend on two things: your audio
interface, and the audio buffer
size you’ve selected. Getting the
buffer down to 128 samples or
below can result in a total time
delay of 13ms or less, which is
tolerable. Even so, buffers of this
size can be sonically unreliable,
especially if you’re recording into

1 2
You’ve got your virtual amp plugin The first option is simply to replicate a CPU-heavy DAW project.
loaded up and sounding great… so the hardware amplifier setup, In practice, there are a few
what’s next? With a hardware amp there recording via the amp plugin, capturing options that can make things
would be no question – you’d simply the processed sound. However, recording simpler. First, freeze or bounce
record the amp sound, possibly taking a via plugins is easier on some DAWs than
any CPU-sapping tracks, as this
DI parallel split to a separate input to allow others, and the experience can be
for re-amping later. With a virtual amp you compounded by the processing and will help achieve reliable
have more options. round-trip latency introduced. performance at this small buffer
size. Next, temporarily bypass
any mastering plugins or plugins
that use lookahead, as these
introduce an additional
processing delay. Finally, make
sure that you’re primarily
hearing your guitar from one
source, such as the speakers or
headphones, rather than a
combination of these plus the
direct sound (including picking)
from the room you’re in. Time
differences between these two
can be incredibly distracting.
Finally, if you’re lucky enough
to have a UAD Apollo system,

3 4
The more DAW-friendly and flexible Finally, try ignoring the virtual amp then the Unison-capable virtual
option is to record the dry DI signal completely when recording, adding it amps such as Fender 55 Tweed
while monitoring through the virtual amp. later when editing and mixing. By using an Deluxe can be used with near
You’ll still have to deal with the latency, external hardware mixer or hardware zero latency, and monitoring
although you can select a suitably epic routing on your soundcard to monitor the
can be handled before your
amp sound for tracking, which can help dry DI signal, you can also avoid
your performance, and your clean DI monitoring latency. Admittedly, recording DAW, circumventing the DAW
recording can be processed any way you a clean DI is not very inspiring, but it does latency issues.
want when editing and mixing. help you focus on tuning and timing.

> Step by step 3.Workinginmonoandstereowhenusingvirtualamps

1 2 3
As discussed earlier, adding ambience Some virtual amps either have two Some virtual amp plugins allow dual
within our virtual guitar rig is a great cabinets or multiple miking of a single signal paths, and the latter makes fully
way to replicate the sound of a real amp in cabinet. If these options allow independent panned twin amps feasible. Implementation
a space, and can create stereo width. panning of those mics, then you can varies across plugins, and you need to be
However, there are other ways we can create extra width simply by panning said aware of how panning affects any
enhance the stereo image, and the first mics. Hard-panning can sound pretty cool, onboard ambiences and other effects.
stop is rack effects, where you’ll find but it’s always worth checking the sound Even so, the power to take a single mono
stereo reverb, delay and modulation effects. in mono to see if frequency cancellation DI and quickly transform it into a stereo,
compromises the sound in mono. bi-amped rig is a wonderful benefit.

December 2016 / Computer musiC / 69

> make music now / virtual guitar amps

12 topampsimulators
Get some tube drive on your hard drive
with the world’s best virtual monster rigs
StudioDevil
Amp modeler pro
NativeInstruments
Guitar rig 5 pro
148 » 8/10 » $149 170 » 8/10 » £169
This simple package features no manufacturer- Arranged as a virtual rack interface rather than
endorsed amps or fancy graphics, but the sound in an amp, cab and pedalboard configuration,
is excellent and there’s a selection of tone- Guitar Rig includes no branded or endorsed
tweaking controls and rack processing including components, but it’s a serious contender that
chorus, tremolo, reverb, gate and wah-wah. sounds great – and can get MIDI CC involved.
www.studiodevil.com www.native-instruments.com

IKMultimedia Overloud
Amplitube 4 tH3
226 » 10/10 » €180 N/A » N/A » €299
One of the most established packages available, This highly regarded virtual guitar rig features a
with a vast array of endorsed amps, pedals and scrollable and zoomable drag and drop interface,
cabs complementing home-grown modules. and endorsed amp models alongside proprietary
Flexible routing, twin rigs and speaker cone versions of classic gear (over 203 components).
selection give it plenty of sonic flexibility. The built in convolver can also import IRs.
www.ikmultimedia.com www.overloud.com

PositiveGrid Brainworx/UniversalAudio
Bias series eNGL Amps
223 » 9/10 (Bias FX) » $99 199 » 8/10 » £189
There are multiple elements to BIAS: Bias Amp Two of ENGL’s amp heads have been exquisitely
simulates amp and cab units, while Bias FX lets modelled and are available for UAD either
you build complex chains of stomboxes, amps individually or as a bundle. Like other Brainworx
and cabs. Bias Pedal, meanwhile, lets you model virtual amps, cabinet and miking is handled by
pedal effects processors at the component level. pre-captured recording chains.
www.positivegrid.com www.plugin-alliance.com

Waves Softube
Gtr3 Vintage Amp room
92 » 9/10 » $129 N/A » N/A » $219
This bundle comprises several individual plugins This plugin covers three classic amp sounds
– Amps, Stomps and a Tuner – and GTR ToolRack, – Fender, Vox and Marshall – with adjustable
a host for combining up to six pedals, two amps single mic placement for the cabinet. The sound
and the tuner. Overall, there are 30 amps, 25 is very good, but with no pedal board, tone
stomps and 30 cabs, all based on classic units. shaping is limited to the amp controls.
www.waves.com www.softube.com

UniversalAudio Peavey
Fender 55 tweed reValver 4
N/A » N/A » £149 N/A » N/A » $100+
UAD virtual amps are becoming pretty focused, Peavey’s hardware know how has allowed them
epitomised by this latest classic Fender offering. to develop an incredibly accomplished processor
With three speaker types, twin miking and Unison with highly tweakable amp, cabinet, stomp and
support, virtual tweaking is still enjoyable, as is rack effect capabilities. Its ‘audio profiling system’
its extremely realistic (and awesome) sound. can also transform the sound of your source.
www.uaudio.com www.peavey.com

Audified Line6
ampLion pro poD Farm 2.5
N/A » N/A » $99 154 » 8/10 » $99
This one gives you independent selection of The intuitive splitscreen interface offers drag-
preamp and power amp, output to independent and-drop rig construction, preset browsing and
cabinets. An eight-slot pedal board precedes the component editing across either single or dual
amp section, and a six-slot effects rack sits after signal paths. Opt for the Pro package ($299) and
it, just before the cabinets. you’ll get over 100 guitar and bass amps.
www.audified.com www.line6.com

70 / Computer musiC / December 2016

 virtual guitar amps / make music now <

> Step by step 4.Classicguitartones…andhowtogetthem!

1 2 3
The classic Fender amp sound has Marshall defined the rock sound of the Modern rock and metal (think Foo
peppered classic pop and rock tracks 1980s with their JMP and then Fighters) uses a distinctive overdriven
for over 50 years – bright and twangy with JCM800 guitar amps. We’re using guitar sound with a scooped midrange.
a touch of amp drive and some spring Softube’s excellent JMP 2203 emulation Amplitube 4’s Mesa/Boogie Dual Rectifier
reverb. Here, we’re using Amplitube 4’s for a crunchy (not fuzzy) sound that emulates the amp often used for this.
Fender Twin Reverb amp. Set the Treble chimes with harmonics. We have the Pre- Select Channel 3 with the Modern setting
and Bass to maximum and the Volume amp set low (1) and Master high (8) with activated, and use a moderate Gain (about
to 4 or 5 for some drive. Finish off with Presence and Treble set to enhance the 1 o’clock). For bite, wind up the Treble and
Reverb set to 3 or 4. ringing. Bass and Middle then add the Presence, then reduce the mid and boost
desired weight and body. the bass for that scooped tone.

4 5 6
For a clean, chorus-infused guitar Classic surf guitar (Dick Dale for To achieve fuzzy or messy distortion
sound like The Police or The Smiths, example) is easily achieved with an (Nirvana, for example), the best option
you need the Roland JC120 amp, and emulation of a 1960s Fender amp (we’re is to use a pedal before the amp, with the
Amplitube 4’s Jazz Amp 120 is a good using Amplitube 4’s Vibroverb). Set the amp set quite clean. Here we’re using
emulation. Set the Distortion close to preamp (Volume) for moderate drive, Overloud TH3, choosing from non-
minimum (but not off), and tailor the tone adjusting the tone controls for a bright, endorsed emulations of the ProCo RAT
controls to taste, using the Bright option if thin sound. Set the vibrato to slow and the (Cat), Electro-Harmonix Big Muff
required. Select the Chorus in the effects Reverb level almost at maximum. Finally, (FatMuff) and Boss DS-1 (DistOne) plus a
section and finish with a touch of Reverb. compress the whole sound – we’re using a simple diode based distortion (diode69).
rack compressor.

7 8 9
The Wah-wah pedal is an adjustable For a tight, funky Nile Rodgers sound, Combining pedal and rack effects with
filter with a resonant peak. For your pedals are often all you need. Here, virtual amp tones creates impressive
classic rhythmic ‘wacka wacka’ effect (as our Overloud TH3 pedal chain starts with stadium-ready effects like U2’s The Edge.
in the Shaft theme tune), rock the pedal a compressor, with high sustain and short One popular technique uses tempo-synced
forward and back in time with the track. release. Next, we enhance the body and delay to build rhythmic parts from simple
For a lyrical effect on lead lines, rock it picking with EQ boosts at 400Hz and patterns. Here, our rack delay is positioned
forward and back quickly on the attack of 3.2kHz. Slow modulation (both chorus before the amp, set to 1/8d with minimum
each note. Here we’re using TH3’s Cry and phaser) is next, and some slapback Regeneration but a high Delay Level, and
Maybe pedal, using DAW automation for delay (around 100ms) adds ambience. we’ve added delay modulation to make
the moves. things more interesting.

December 2016 / Computer musiC / 71

> make music now / virtual guitar amps

Usingampsimson > Step by step 5.AddedbenefitsofampsimulationinaDAW

non-guitarsources

With so many effects crammed

into your virtual guitar rig, you
can pretty much process
anything… but remember, at the
core of an amp sim is its excellent
distortion engine, modelled on a
selection of colourful valve
preamps coupled with tone
shaping cabinets.
First up, try adding some retro
colour to individual drum sample
hits, including snares, kicks and
hats. For a more hi-fi sound,

1 2
bypass the cabinet and tweak the Sometimes plugins include powerful Virtual amps make it very easy to
amp drive and tone controls, modulation options providing an extra apply completely different rigs to the
then, for the full on lo-fi effect, level of sound manipulation. Here, we’re same guitar take, quickly creating a form
using Guitar Rig 5’s envelope modifier to of double-tracked guitar. This works best
you can switch in the cabinet. The
control our tremolo intensity, while the with each track hard-panned – and when
same technique is also works LFO controls the volume and tone of the each amp sounds quite different. Here, as
well on acoustic drum kits, and is tube screamer effect. One benefit here is we finesse our sound, we are mono-ing
particularly good for dirtying up that the modifiers allow us very precise the overall blend to get an idea of phase
room mics. control over the target parameters. cancellations for mono playback.
Next up, vocals often benefit
from some extra saturation. Try
blending in just a little from a
clean but slightly driven channel,
bypassing the cabinet stage to
keep things reasonably hi-fi.
Finally, although we often
assume DI electric guitar is our
source sound, don’t rule out
using your virtual amp to
transform an acoustic guitar
recording – pushing the drive and
distortion up high can be
surprisingly effective, and at
these settings you really can’t tell

3 4
the original source is acoustic. DAW automation opens up a bunch of Some virtual rigs allow for flexible
options for pedal and amp re-ordering of components, making
manipulation that go beyond simply ‘impossible’ signal flows a reality. Here,
switching them on and off. Here we’re we’ve taken a complete rig and then
automating our wah-wah pedal to achieve added a distortion pedal at the output.
a precise effect. Then, for our amp, we’re By bypassing to compare, we can hear
adjusting the amount and width of cabinet that the pedal is retaining the stereo
ambience to create a tight verse and image, producing an interesting effect in
bigger chorus sound. conjunction with the the rack reverb.

> Step by step 6.Usingguitaramppluginsonnon-guitarsources

1 2 3
Guitar amp saturation works very well Our DAWs provide an abundance of If you’re after a dirty, lo-fi reverb, a
on a number of sounds other than modulation effects, but when it comes spring reverb is ideal. Set this up in the
guitar, including vocals, beats, piano and to vibrato and tremolo, classic guitar amp typical way – either as an auxiliary or
synths. It’s worth trying the effect with and and pedal effects often have their very insert – and then focus on keeping the
without the cabinet, and sticking to the own feel. For our electric piano, we’re amp signal as clean as possible, so you’re
cleaner (rather than more overdriven) initially trying the classic Fender amp just getting the reverb effect. Here, we’ve
channels. vibrato, with the amp very clean and the also added in the cabinet for an even
speaker bypassed. Secondly, we try a darker effect.
pedal based on the classic Univibe effect.

72 / Computer musiC / December 2016

 tutorials <

Become a better producer every month

with pro advice, expert videos and audio
examples from our computer music gurus

76 Three-note
extended chords

Dave Clews shows us how to

Easy Guide translate seventh and ninth chords
Music theory
with Dave Clews into a just three notes, while still
getting the message across

78 Working across
two DAWs

Ilpo explains how – and more

Studio Strategies
Advanced production
importantly, why – using two
with Ilpo Kärkkäinen workstations can help you
get things done in the studio

80 Delay with
drums

Echo effects aren’t just for adding

Dr Beat
Beat and drum design
depth – Ronan shows us more
with Ronan Macdonald practical ways to use delay plugins
when programming drums

December 2016 / Computer musiC / 75

Dave Clews’

#46

Three-note extended chords

When a seventh or ninth chord would take too many fingers, download
Download the accompanying

there are established ways of fitting them into three notes

video and the MIDI/audio files at
vault.computermusic.co.uk

When writing chord progressions, basic We’ve seen in previous Easy Guides about interesting effects by missing out one or two
three-note triads can only get you so far, how your average three-note major or minor notes. Not only is this easier on the fingers as
and if you stick religiously to the confines of triad can be played in different inversions to you’re playing the chords, but it also leaves
this one type of chord shape, it’s not long inject a bit of variety into a progression – but room in your arrangement for other instruments
before the number of available choices of what happens if you want to include extended – such as the bass, for instance – to fill in the
chords becomes quite limiting. It’s at this chords like sevenths or ninths? Seventh chords, gaps by playing the notes that you’ve left out. So
point that the technique of using different as a rule, contain four notes, while a full-voiced this month, I’ll be looking at ways to play
voicings – in other words, playing the notes of ninth chord usually contains five. While there’s sevenths and ninths using only three notes,
a chord in a different order, or shape on the nothing wrong with playing all these notes while still retaining the essential flavour of a
keyboard – comes in handy. within a chord, you can achieve some regular extended chord.

>Step by step Squeezing seventh and ninth chords down into three-note combinations

TuTorial
Files

1 2 3
OK, so we’ve managed to go a couple The notes in the scale are also known If we want to extend this chord, we do
of months without looking at our old as degrees, and we can give them it by just adding extra notes on top. By
friend the C major scale, but we can’t get numbers from 1 to 8, as shown here. Then adding the seventh degree of the scale
away from it this time around, so here it is we can use the notes in this scale to build – B – to the C major we built in the last step,
again – eight notes, from C to C, played on some chords that are diatonic to the key we get a Cmaj7 chord (C-E-G-B). It won’t
the white notes of the piano keyboard - C, of C major. A basic C major triad, for have escaped your notice that this chord
D, E, F, G, A, B, C. It almost goes without instance, consists of the first (C), third (E) contains four notes. What if we just to get
saying now that this is the parent scale of and fifth (G) degrees of the scale. away with playing just three of them?
the key of C major.

4 5 6
The notes within the Cmaj7 chord that To make a three-note voicing of a This works the same for any type of
give it its major seventh quality are major seventh chord, you could seventh chord – major, minor or
the third (E) and the seventh (B). This is all simply remove either the root (C) for dominant. . You can get away with
to do with the intervals between these what’s known as a rootless voicing, or removing either the third or the fifth, and
notes, and the root note of the chord (C). we could remove the fifth (G). In this the chord still retains that essential
The interval from C to E is a major third, example, we’ve let our bass part play the seventh quality thanks to the presence of
while from C to B is a major seventh. This C note, and given the Rhodes part a the skeleton – the third and the seventh.
pairing of the third and the seventh is rootless Cmaj7 chord (E-G-B) – effectively Here’s a Caug7 played as a three-note
known as the chord’s skeleton. an E minor over a C bass. voicing, by way of an example.

76 / Computer musiC / December 2016

 easy guide / make music now <

ExtEndEd dirEctory Pro tiPs Dave Clews

Here’s a little reference list of seventh and ninth chords see ya later, arpeggiator In a studio career
– plus their three-note equivalents. To find the minor Three-note ninth chords work especially well when spanning almost 25
seventh, lower the blue note by a semitone. played into an arpeggiator. As there are three notes years, Dave has
rather than five in the chord, an arpeggiator will play
Root Major 7th (9th) 3-note 7th 3-note 9th only three notes per octave if you trigger it with a
engineered,
C C E G B (D) EGB EBD three-note voicing. This means that you can inject that programmed and
# # # # # # ninth-chord feeling into arpeggios that span a wider played keyboards on
C C F G C (D ) FG C FCD
# # # # # # range of the keyboard over the same duration than records for a string of
D D F A C (E) F AC F C E
# # # # regular five-note ninths.
D D G A D (F) GA D GDF artists including
# # # # # # # #
E E G B D (F ) G BD G D F preaCHing to tHe inverted George Michael, Kylie
F F A C E (G) ACE AEG Like all chords, these voicings can be inverted, or Minogue, Tina Turner
# # # # # # # # # played with the notes in a different order on the
F F A C F (G ) AC F A FG and Estelle. These
# # # keyboard. When playing around with these, some
G G B D F (A) BDF BF A
inversions work better than others because of the days, in between writing articles
# # # # # #
G G C D G (A ) CD G CGA proximity of the ninth to the third when you shift it for and other magazines, he
# # # # # #
A A C E G (B) C EG C G B down an octave – but it’s all about context, really. In collaborates on occasional songs
# #
A A D F A (C) DFA DAC some settings, the dissonance this creates can be
# # # # # # # # # #
and videos with singer/songwriter
B B D F A (C ) D F A D A C exactly what the tone of the track calls for.
Lucy Hirst, aka Polkadothaze.
www.daveclews.com

7 8 9
So what about ninth chords? We’ve Now we have a five-note chord. What Remember the skeleton voicing, made
run out of notes to extend our chord notes can we get away with playing to up of the third and the seventh? It’s
with, so lets add another octave on top produce a three-note voicing that still still relevant here, even though we’re
of our original C major scale, and sounds like a major ninth? Well, first we dealing with a ninth chord, as the ninth is
continue numbering the degrees from can get rid of the root note, as we can let an extension of the seventh on which this
where our first octave left off. This allows the bass take care of that. This leaves us is based. Here we have the skeleton of E
us to find the ninth degree – D – and add with E-G-B-D. and B… and of course, we need the ninth
it to our stack of notes to get a Cmaj9 (D), otherwise it wouldn’t be a ninth chord.
chord (C-E-G-B-D). So that gives us E-B-D.

10 11 12
Let’s look at a minor ninth. Sticking Here’s an example of how these And finally, another example, with
with the white keys, here’s an Am9, voicings might be used in a track. multiple gated and staccato synth
made up of A-C-E-G-B – the root, third, We’ve got a bass part that’s handling the parts all playing three-note voicings
fifth, seventh and ninth degrees of the root notes, while the Rhodes is holding of an Am9 chord over a house-style
A minor scale. Applying the same formula down the three-note voicings of backing track. These voicings can
of skeleton plus ninth, we isolate the third Cmaj9 - Am9 - Dm9 - Abmaj7 - Gm7. impart a real dark, tense atmosphere
(C) and the seventh (G) and add the ninth Check it out in the video to see how the to your tracks if used with the right
(B) on top. whole thing goes together in practice. sounds, so why not start experimenting
and see what develops?

neXt montH Dave gets around to looking at circular progressions December 2016 / Computer musiC / 77
Studio
strategies
with Resound

#02

Combining two DAWs

download
See the video walkthrough
on your PC/Mac at:
vault.computermusic.co.uk

There’s so much great software out there, shouldn’t you be using each
piece to the best of its abilities? Sometimes, two is better than one…

Ilpo Kärkkäinen The debate on which DAW is best has been

raging for as long as music-making
big hurdle: I was having a hard time getting my
mixdowns to sound right! I kept trying, but even
Ilpo – aka software has existed. I’ve worked with a lot of after a year I still had to work much harder than
Resound – is a DAWs since I first started out in the mid 90s, before, and after all the work, I still often felt my
veteran drum and we’ve definitely come a long way! mixes weren’t completely there.
’n’ bass At this point in time, it’s safe to say that all of My conclusion was that, unlike some other
producer the major DAWs are extremely well featured and DAWs, Live 9 was simply not designed for the
who’s worked well honed packages for music production. The robust mixing workflow that I was used to
with many of biggest differences lay in the workflow they having in Logic. You have to select a track to see
the scene’s present to you: Ableton Live, for example, which plugins it contains; you can’t set the
biggest encourages you to play around, to perform and layout of the mixer any way you like… the list
labels. As well to be agile; Pro Tools is much more rigid but goes on. Something had to be done.
as being an offers a superb environment for working with
in-demand game soundtrack artist audio sessions; Reason presents us with a The power of two
and mixing and mastering engineer, virtual studio that draws inspiration from how I decided to see if splitting my workflow between
he runs a popular production blog an analogue hardware equipped studio works. two DAWs would make a difference. I began using
focused on productivity. After 20 Three very different user experiences, each Live for what it did best: creating and arranging.
years in the game, Ilpo still has a great in its own way – and yes, I actually own all I then exported the project to Pro Tools, which
passion for pushing the boundaries of them plus a few others! offered me a great platform for the final mix.
of production. But who’s stopping you from using different This approach started yielding good results
www.resoundsound.com DAWs to work on the same piece of music, for me very quickly. The quality of my mixdowns
utilising the best features of each? That’s exactly improved, and they came together much
what I have been exploring in recent years, and quicker. Plus, I was feeling a lot less frustrated.
in this article, I’ll share with you how my A few months back, another turn took place. I
workflow has progressed. found out about PreSonus Studio One 3.
Combined with NI Maschine as an idea-
Just one problem
“The quality of my mixdowns Let’s rewind time a bit. In 2012,
sketching platform and Softube Console 1 as a
channel strip, I again feel I’m one step closer to a
I’d been working in Logic for setup that’s super intuitive and gives me great
improved and they came about ten years. I ran into
some severe stability issues
results every time.
My point is that you shouldn’t be afraid to
together much quicker” and decided to try out
Ableton Live. I was quite
explore and experiment with different tools.
There’s a learning curve involved, but it’s your
intrigued by the very different responsibility as an artist to discover which tools
approach Live appeared to present. work best for your craft and then utilise them to
I quickly noticed I was having a great time their fullest potential.
working with Live. It felt like a sandbox for Evolve what is already working for you. Go
experimentation; ideas and arrangements came with what feels right in use – as opposed to what
together effortlessly. However, there was one others say – and you’ll do your best work.

Working in two stages

Is it better to mix as you go along, or to and effects to audio also frees up Committing to audio and starting a new
bounce everything to audio and have a resources so that you can hit the final session for the final mix puts you into a
dedicated mixing session after the creative mix with the full processing force your different mindset. You stash away your
work is done? Well, mixing as you go doesn’t computer has available. creative hat and put on the technical one
rule out a dedicated mixing session to finish The real punchline is this, though: you (yes, it’s the one with a propeller on top). It
things off – I say do both! There are many don’t want to be focusing too much on also helps you focus on what’s important
benefits to this workflow… technical details while you’re in the creative now, and allows you to make better
MIDI can sometimes be inconsistent; flow. In those moments, it’s reassuring to decisions as you go on.
audio, on the other hand, is reliable and know that there will be a dedicated time for Design from ground up, mix as you go,
easy to edit. Rendering virtual instruments that stuff later on. and end with finesse!

78 / Computer musiC / December 2016

 studio strategies / make music now <

>Step by step Preparing projects and exporting stems between two DAWs

TuTorial
Files

1 2 3
In this tutorial, we’ll look at exporting I aim to make things sound good off Because I mix as I go, I generally tend
stems from one DAW to be used in the bat, but I don’t worry about very to leave the insert effects in when
another. I’ll show you my process of taking fine technical details when I’m in the midst exporting. I can always go back in later to
a project from Ableton Live 9 to PreSonus of creating. When writing and arranging is grab a dry version of a stem if needed. I
Studio One 3 for the final mix. The same done, I export all tracks as audio and set up don’t export send effects; I just set up the
general principles will apply no matter a fresh mix session to finish things up. It’s same ones with identical settings in the
which DAWs you happen to be using. good to do that even if you’re writing and final mix session. This allows much more
mixing in the same DAW. flexibility when mixing.

4 5 6
You have to make sure your levels are Export at the same sample rate your Staying organised is paramount for
right before exporting. My process is project is set up with. Export a 32-bit the final mix. You must be able to find
to bring all faders to unity. At that point floating point file if your DAW supports it. things quick and maintain a good
the channels are generally peaking at –12 24-bit is perfectly good too, as long as overview of the session. Make sure your
to –6 dBFS, depending on the dynamic your levels are OK (see step 4). Do not use stems get named properly – the first thing
range of the material. Setting faders to any dither when exporting stems. Dither is I do after importing stems into the final
unity works because I maintain careful noise and is only applied when reducing mix session is set up the track names and
gain staging from the very first moments I bit depth. order, colour coding, mix groups and
start working on a project. submix busses.

Using ReWire
Interested in syncing up different around since 1998 and is now supported by Keep in mind, though, that the more
applications to work on the same session in most major DAWs. applications you have running, the
real time? Enter ReWire. The ways to use ReWire in your music more system resources you’re going to
ReWire is a free technology developed by workflow are endless. Maybe run your consume. Depending on what kind of
Propellerhead Software. It allows you to favourite Reason rack into your Live session? system and applications you happen
route audio, send MIDI and link the You could even sequence it from within Live, to be running, stability could also be
transports between two or more or you could route out your entire session an issue.
applications in real time and perfectly in from Live for mixing in Pro Tools. This way In any case, it’s absolutely worth it to give
sync. One application acts as the master and you have the robust mixing environment of ReWire a shot and see how it might fit into
the rest run as slaves. ReWire has been Pro Tools but can still utilise Live’s warping. your workflow.

neXt montH Ilpo lets us in on some creative saturation techniques December 2016 / Computer musiC / 79
Dr Beat
with Ronan Macdonald

#24

Delay with drums download

See it in video and get the

Our doc shows you how to sweeten beats with echoes

tutorial files on your PC/Mac at
vault.computermusic.co.uk

Ronan Macdonald Although delay might not immediately

spring to mind as a music production
bussed each element of the kit to its own
audio channel in Ableton Live, for discrete
Having tool of particular relevance to drums, by delay processing.
previously eliciting controlled echoes from individual As you can hear in audio example
served as Editor parts of the kit (the snare or hi-hats, for 0. Dry drums.wav (found in this issue’s
of drummer’s example), a wide range of sonic Tutorial Files folder), the drum part I’m starting
bible Rhythm as improvements and effects can be cooked from couldn’t be more minimal – it’s just
well as up, from pseudo-reverbs to rhythmic spot alternating kicks and snares on the beat,
Computer FX and more. doubled up with hi-hat hits. So, using nothing
Music, Ronan is In this tutorial, I’ll take a very simple drum but delay plugins, I’m going to put flesh on the
clearly the right part and turn it into something rather more bones of this percussive skeleton by enhancing
man for this exciting through the application of a variety the kick, snare and hi-hat patterns and turning a
particular gig. He’s been playing drums of delay treatments. I’ll be using Native tom-tom fill into a feedback-drenched
for over 30 years and making music Instruments’ Battery 4 as a sound source, soundscape. Check it out below and in this
with computers since the 90s. and by way of preparation, I’ve already tutorial’s accompanying video.

>Step by step Using delay processing to work creatively with drums

TuTorial
Files

1 2 3
The kick is the drum least applicable My hi-hats currently land on every The snare, with its abundant mid and
to being treated with delay, as too beat. By inserting Live’s Filter Delay, high frequencies, is probably the most
much of it can easily overwhelm the knocking out one of its three taps, setting viable drum element for delay processing.
bottom end of any mix. Nonetheless, here the remaining two to 2 and 3 16th-note Let’s use a single tap set to a very short
I’m feeding my quarter-note kick into delay times, filtering them into focus, delay time to fake a short room reverb. I’m
Battery’s own delay module to give it a bit raising the Feedback on the ‘3’ side to fill in using one channel of Live’s Filter Delay
of swing and dynamics. Note the feedback the ‘missing’ hit, and panning them a again, this time set to around 100ms, with
is kept low – I don’t want those low touch, a dynamically variable 16th-note a hint of Feedback. Lowering the band-
frequencies building up. pattern emerges. pass filter frequency darkens the sound.

4 5 6
Next, the classic spin delay effect. I set Speaking of dub, to conjure washes of Here’s a handy trick for generating
up PSP stompDelay on an auxiliary sound out of a drum track, all you have snare drum ghost notes: feed your
bus, 100% wet with the Delay Time set by to do is ‘grab’ some hits (I’ve gone for a tom snare channel into a multitap delay and
ear rather than synced to tempo for an fill) with a spin into a very high-feedback set each tap to a delay time that makes
organic vibe, and the Feedback raised. By delay line, then play around with the rhythmic sense when triggered by the
automating a quick rise in send level from filters, Delay Time and Feedback. Don’t snare. By raising and lowering the levels
the snare channel to the bus at punctuative forget to insert a limiter, as things can of individual taps, you’ll get a range of
points, a dubby delay tail is generated. easily get out of hand! funky rhythms.

80 / Computer musiC / December 2016 NEXT MONTH Roll your own trap hats in a snap
GTA
The genre-flippin’ Miami duo reckon
that their success is down to trial
and error... and free synths from !

Miami’s connection with dance music so I didn’t have access to anything like the Ultra
goes back a long way. For over 30 years, Music Festival because they wouldn’t let me in
the gaudily glamorous city has been the clubs. My first real experience was warehouse
welcoming DJs, producers, promoters and raves… hearing this music and wondering, ‘How
labels to the annual Winter Music Conference, the hell did they make that?’
spawning equally important industry get- Eventually hooking up with Mejia, the duo’s
togethers like The Producer’s Forum and the skewed anthems soon grabbed the attention of
Ultra Music Festival. Rihanna and Calvin Harris, who both took GTA
But many would argue that Miami’s out on tour. You can guess the rest of the story…
geographical and cultural association with Cuba Coachella, Electric Daisy Carnival, remixes for
injected rhythm into the city’s bloodstream way the likes of Kylie Minogue and deadmau5,
before the WMC – two or three hundred years remixed by Skrillex and a worldwide hit with
ago! Take an evening stroll downtown and you’ll Martin Solveig, Intoxicated.
hear it: the patter of rhythm and sultry melodies Time has been understandably tight for Van
that provides Miami’s constant soundtrack. Toth and Mejia, but they’ve finally finished work
It’s no surprise, then, that Miami-born-and- on their debut album, also called Good Times
raised Matt Van Toth and Julio Mejia – aka GTA, Ahead. caught up with them on a rare off-
which stands for Good Times Ahead, just in day, chillin’ in Miami.
case you’re reading this while sat at your Xbox
– ended up making music. Computer Music: There’s been talk of a GTA
“I grew up with dance music,” remembers album for a couple of years now. What took
Van Toth. “It was everywhere. But I was under 21, you so long?

82 / Computer musiC / December 2016

 gta / interview <

December 2016 / Computer musiC / 83

> interview / gta

Matt Van Toth and Julio Mejia: “Generally

speaking, dance music is about singles. You
have one song that has one message, and that’s
“We just wanted to make music
all you have to worry about. With an album,
you’re suddenly confronted with a whole
collection of songs – different songs with
and do whatever we felt like doing.
different ideas – but you have to find some way
to make all those songs fit together. We thought No rules, nothing like that”
that would be pretty easy… after all, these are
our songs… but once we really go into it, we
realised we had no idea what we were doing.” every track follows the same pattern. met, we were both inspired by electro/Dutch
MVT: “I’ll be honest with you and say that we This isn’t meant to sound like a criticism, but house. I remember playing a lot of Afrojack,
made a lot of music over the last couple of years there often seems to be an almost random Sandro Silva, Chuckie and the whole Dirty Dutch
that we knew was never going to fit on the element to GTA songs… as if they got made by crew. But we loved listening to tons of other
album. I guess what we ended up doing was mistake. Ideas and noises – ones that shouldn’t stuff like trance, rap, rock and bass music…
looking at everything and deciding which tracks work – somehow seem to make sense. Rusko, Caspa, Excision, Noisia and Netsky.
were going to work. JM: “We don’t consider that criticism at all. When But we’d take all of those influences and try to
“Time has also been a problem. We do over we first met, we didn’t really know what kind of mess them up.
200 shows a year and it’s not easy to start songs we wanted to make… there was no, ‘Let’s “Every time we opened up a plugin, we’d be
thinking about which track will open the album make this kind of track.’ We wanted it to be looking for the weirdest, oddest sounds, and
when you’ve just come off stage at three in the energetic and clubby, but we talked about then we’d mess it up and mess it up until we
morning and you’re still jet lagged. We wanted everything from beats and pop to house tracks found something that we’d never heard before.
to take our time with the album… we wanted to and festival tunes. We just wanted to make That’s when music gets really exciting; when
get it right.” music and do whatever we felt like doing. No you’re off into unknown territory.
rules, nothing like that.” “Obviously, you do have to learn some of the
: I guess one of the problems is that you’ve MVT: “A lot of what we do is trial and error. basic stuff, too. One of the first tracks that really
never relied on a tried-and-trusted formula. We throw shit together and accidents happen. blew me away was Benni Benassi’s Satisfaction.
For better or worse, it does happen a lot: an Wow! That sounds awesome. What the hell did I spent ages trying to recreate that song…
artist will chance upon a hit formula, and we do there? If I think back to when we first working out what makes a great bassline, a
great drop, a great build-up. Why does this snare
work and that snare doesn’t?
“In those early days, we made tons and tons
of music that never got released – it was just
us finding out what we wanted to sound like.
No… it wasn’t what we ‘wanted’ to sound like;
it was finding out what worked and what made
us excited.”

: A lot of readers will have been in that

same position. You put on your favourite
tune, try to recreate that killer build-up and…
it never sounds as good, does it?
MVT: “Almost every other producer we’ve talked
to has told us that story. Right at the beginning,
you’re not really sure what you’re after, so you
“All we’ve got in the studio is the computer, monitors, a MIDI-keyboard and a Moog Little Phatty”
throw everything into the song and, bit by bit,
you learn what EQ works for you and your
preferred technique for sidechaining. You’re
stumbling through the undergrowth and, one
day, you realise that the sound you’ve just
created feels right. Not because you’ve used this
synth or this reverb, but because it resonates
with you. It makes sense to you.”

: What platform were you working on in

the early days?
JM: “Before I met Matt, my musical world was
based very much in traditional instruments. My
mom enrolled me in the trumpet class at school,
which doesn’t sound particularly cool, but it
meant I was suddenly exposed to all the
different kinds of music you can find in Miami.
It was a real melting pot of styles and I got
fascinated by the idea of improvising over the
top of these different grooves.
“Somewhere along the way, I got introduced
to FruityLoops and kind of went a bit crazy
© Jasmine_Safaeian

because the computer suddenly allowed me to

go anywhere. All these mad improvisations that
I had in my head could be turned into music.
I might not be able to play them ‘physically’, but
the computer turned me into a super-musician.
“All these mad improvisations that I had in my head could be turned into music” I could play anything I wanted.”

84 / Computer musiC / December 2016

 gta / interview <

MVT: “FruityLoops was the thing that kind of

brought us together. I started out on Sonar, then
sequencer seem to have this unique feel.
“You can bring in an obvious sound, totally Kit list
investigated Ableton and then ended up with mess it up, throw it into the sequencer, start HARDWARE
FruityLoops. Julio was out on Facebook trying working anywhere you want in the session… Razer PC
to pick up a few tips about FruityLoops and we I guess what I’m trying to say is that it never Apple MacBook Pro
got introduced through a mutual friend.” makes me think that I have to work in a certain Moog Little Phatty
way. It puts everything in front of you and says,
: Always good to come across a producer ‘You decide where you want to go’. That might SOFTWARE
who isn’t using Ableton or Logic. Adds a bit of sound confusing, but it’s not. It feels totally Image-Line FL Studio
variety to life! intuitive and allows you to get things done. Ableton Live
MVT: “We do use Ableton, too.” “One thing you can definitely say about FL is NI Massive, Kontakt
that you hardly ever waste time thinking, ‘How Sonic Charge Synplant
: Darn it! do I do this?’ Maybe that’s why people who do
Xfer Records Serum
MVT: “FruityLoops – I guess I should call it FL use it really fall in love with it. It allows you to get
Cytomic The Glue
Studio – is definitely the main tool, though. more out of a day in the studio.”
IK Multimedia
There’s just something about the workflow that Classik Studio Reverb
makes total sense to me… your song is there, at : Are you working out of a ‘studio’, or is it a Art Acoustic Reverb
your fingertips. Yes, there are a lot of similarities bedroom-special? Genesis CM
between DAWs, but the piano roll and the MVT: “Ha ha! Yeah, the studio is at my house. Kjaerhus plugin bundle
I use a Razer PC and I love it! I’m actually about
to order the new one that just came out with
“[FL Studio] never updated hardware. They recently had a
promotion with Image-Line and I think you get

makes me think FL when you buy their laptops. The computers

themselves run very well and the warranty is
excellent! Highly recommended to anyone in
that I have to work the market for a powerful PC laptop.
“All we’ve got in the studio is the computer,
in a certain way” monitors, a MIDI keyboard and a Moog Little
Phatty. Personally, I can’t see the point of us

December 2016 / Computer musiC / 85

 > interview / gta

The GTA recipe for a

deep-hitting kick
“We like to focus on building one sampled kick and
making it sound as perfect as possible. The starting
point is usually a short,punchy kick; depending on
the sample, a short decay and a sustain at about
half can really accent that punch. Add a bit of
compression (we like to use The Glue) to really
make sure that punch is hitting you right in the
face, then layer it on top of an 808.
“We always use different sidechain methods,
depending what the track calls for. If there’s a
bassline in the song, we’ll use a small hi-hat
sample to follow the pattern of the kick
– that’s the trigger for the sidechain.
But sometimes we also play with the
attack on the 808 envelope to get the
same effect.
“For the actual 808, we’d push a
tiny bit of a distortion/Sausage
Fattener to beef up the sub, then
maybe add a little low-pass filter to
bring out the bottom end. Don’t go crazy;
the punch should be louder than sub. All of
this to taste, of course!”
© Jasmine Safaeian

having a ton of hardware, because we’d never like to listen through to the whole session and searching for the perfect hat when the
get round to actually using it; we’re hardly ever we’ll pull out bits of audio like someone one you’ve got is perfect. I recognise it in
here. If you’re away for two thirds of every coughing or laughing and use them as weird myself. I love taking a basic sound and
month, you have make allowances for that… you percussion noises.” turning that into something weird and
have to make sure you can work in a hotel room wonderful. You start adding and twisting
in Tokyo or Atlanta. : In this age where almost anything is and you get so caught up in the process
“That’s kind of what happened with a track possible even in a bedroom studio – 50 that you’re not really listening to the sound
from the album that we did with Vince Staples synths, 2000 kicks, recording huge chunks of at all. The sound you wanted happened
called Little Bit of This. We were actually in a audio – it’s good to remember that, two hours ago, but you carry on and it’s
hotel room in Atlanta, messing around with sometimes, it can be the tiny little details that totally lost.”
some sounds in the early morning. I started turn a good song into a great song. JM: “I guess that’s where we balance each
looping a really fast drum fill and slowing it other out. Sometimes, I have to say, ‘Matt,
down to 118bpm, added a little distortion, MVT: “Definitely. I think it’s very easy to get lost step back. We don’t need to go any deeper
low-pass filter and sidechain, and that was more in a song… adding more and more synths, with this’. And he’ll tell me when I start
or less the basis for the song. We finished the getting carried away with chords and
whole beat in the hotel. improvising and crazy jazz stuff.”
“We sent it to Vince’s people and they loved it;
sent us back a more or less finished vocal. Back
“You get so caught : Apart from FL Studio, the Little Phatty
in the studio, we started to add a few things…
crickets, frogs, bizarre noises. I wanted it to feel up in the process and some frogs, what else will we find in a
GTA song?

that you’re not

like you were getting lost in an electronic jungle, MVT: “Massive, Serum, which seems to be
but the drums had to sound real and organic.” the new Massive. A lot of Kontakt; we’ve been
JM: “Some of the other vocals on the album investing in some of those third-party
were recorded at Matt’s house, but sometimes,
there’s physically no other way to get a vocal
really listening to libraries for Kontakt, so we can start
unlocking a few more doors.
done. We send somebody a song and they
send us the vocal. That’s cool, though, ’cos we the sound at all” “Massive has so much to offer, but I guess
that’s why it’s still around after so many

86 / Computer musiC / December 2016

 gta / interview <

years. You can link everything to everything using it because it became unstable, but I really
and get right into the wavetables… just make loved it. It’s Ummet Ozcan’s synth and I think
sure you can find your way out! Sonic Charge’s he’s making a full version soon.”
Synplant is another synth that really lets your
imagination go crazy. : Obviously, EDM – or whatever you
“I don’t want to keep talking about FL Studio, want to call it – is still doing big business
but you can’t ignore some of the synths. When in the States, but, from this side of the
it comes to basslines, you’ve only got to listen Atlantic, it seems like things have
to the 3xOsc. It was crucial to the making of calmed down a bit. As if the scales have
this album. Even the simplest basslines have been rebalanced…
real body. MVT: “I think that’s the perfect description
“On the production side, we use a lot of of what’s happening over here: things have HeAr more
the native FL stuff, too. In a lot of cases, I think rebalanced. There was a period where it
it actually works and sounds better than was so big that something had to happen,
third-party… maybe because it’s native to and we’ve ended-up with everything… it just
the platform. The distortion is all over the feels more real. People have started getting
album and we always use the limiter, the more selective about what they listen to.
reverb and the compressor. What’s great is There’s an established scene over here and
that, because they’re native, they’re totally people have been listening to dance music Lil Bit of This
CPU-friendly. long enough to have worked out what they bit.ly/GTAlbot
“Having said that, there are some third-party like and what they don’t like. Intoxicated
plugins; Glue is a classic, the CSR and the “There are some people who keep bit.ly/GTAintox
ArtsAcoustic reverbs.” saying this is the beginning of the end of
JM: “Some of the freeware stuff that’s out there dance music, but… nah, that ain’t gonna WWW

www.goodtimesaheadtour.com
is pretty good, too. Like the Kjaerhus audio happen. Come to Miami in March and then
plugin bundle. You can find it online if you tell me it’s dying.” soundcloud.com/wearegta
search the name, but we found out about them
@weareGTA
from Laidback Luke.” The album, Good Times Ahead, is out
MVT: “And I used the Genesis synth from your now via Warner Bros facebook.com/WeAreGTA
magazine for years. I eventually had to stop www.wearegta.com
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Future Music is the mag for the latest gear and how today’s cutting-edge music makers use it.
We’ve been making the future since 1992. Make sure that you’re part of it.
 reviews <

The latest computer music gear tested and rated!

Our promise
We bring you honest, unbiased
appraisals of the latest computer
music products. Our experts apply
the same stringent testing methods
to all gear, no matter how much
hype or expectation surrounds it.

What the
ratings mean
1-4 A seriously flawed product
that should be avoided
5 This product’s problems
outweigh its merits
6 A decent product that’s only
held back by a few flaws
7 Solid. Well worth considering

92 sPECTRAsONICs KEYsCAPE 8 Very good. A well-conceived

and executed product
Feast your ears on this massive collection of modelled 9 Excellent. First-rate and
vintage keyboards from the makers of Omnisphere among the best you can buy
10 Exceptional. It just doesn’t get
any better than this!

VIDEO See and hear the latest

software in action in our
2 WITH
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Wherever you see the icon, head
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100 102 103

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Awarded to products A product has to really If the product In the opinion of the
that challenge existing impress us with its exceeds expectations Editor, the best product
ideas and do something functionality and for its price, it will reviewed in the
entirely new features to win this one receive this gong magazine this month

December 2016 / COmPuTER musIC / 91

 > reviews / spectrasonics keyscape
utility and SyStem Keyboard graphic inFo
inStrument categorieS adjust round-robin Feast your eyes on the read all about the
Keyscape’s 36 instruments playback, streaming instrument behind the loaded instrument
are compiled in ten folders behaviour and more current preset in this tab

inStrumentS
and preSetS
over 500 presets
shared between 36
single instruments
and numerous duo
combinations

main tab
houses more
effects, and
Keyscape’s
performance
controls
cuStom controlS SettingS EDITOR’S CHOICE
every preset has its own rack of triggering, voicing, scale-snapping
VIDEO
effects, laid out in one or two tabs and velocity mapping options
2 WITH
MINUTES
…

Spectrasonics
Keyscape £276
Like a vast virtual keyboard museum, this lavish repository of melodic
instrumentation has pianists of all kinds comprehensively covered
Well, who knew? In parallel with building space, or supplementing your main rig install per layer for ‘human’ variation between notes.
one of the most powerful synthesisers of with a ‘secondary’ laptop one. It’s powered by On paper, then, it all looks very promising…
all time, Omnisphere 2 ( 220, 10/10), the same STEAM audio and streaming engine as
Spectrasonics have also filled the last ten Omnisphere 2. Brave new world
years with the creation of a similarly sizeable During the sampling process, Spectrasonics The first thing to understand about Keyscape is
– if nowhere near as architecturally endeavoured to capture all the noise, that it’s nothing like Omnisphere 2 (or even 1) in
ambitious – instrument based on “the largest imperfection and quirks of the original ’boards, terms of programmability and depth – that’s
selection of collector keyboards in the world”. as well as the full spread of their tonality. Each simply not the idea behind it. While Omnisphere
That decade wasn’t just spent sampling the instrument has been sampled with up to 32 gives you an expansive range of editable
36 instruments that are brought together in velocity layers, and uses multiple round robins parameters and synthesis engines to delve into,
Keyscape, but also finding and restoring Keyscape is all about the sampled instruments
them in the finest detail – multiple times if themselves, rather than the comprehensive
required – to get them sounding exactly how
Spectrasonics Founder and Creative Director
“Spectrasonics tweaking of them. However, Omnisphere 2
owners can actually load Keyscape presets into
Eric Persing and his team wanted them to. For
example, vintage hammer felts were used for endeavoured to said synth, bringing its arsenal of sound-shaping
and processing weaponry to bear on Keyscape’s
the C7 grand piano, “manicured” to achieve
warmth at the quieter end of the dynamic capture all the noise, vintage tones. All that’s required to do this is the
latest version of Omnisphere 2, which makes
range and bite at the top. Keyscape’s presets available in its browser and
Keyscape can be bought as a download or on
a USB drive, and although the full install weighs
imperfection and loads them in as layers, complete with all their
controls. That’s a very big bonus, for sure.
in at an impressive 77GB, you can opt for the
lighter 30GB version, should you be short on
quirks of the originals” Keyscape’s interface is clean and
straightforward: patch browser on the left; big

92 / Computer musiC December 2016

 spectrasonics keyscape / reviews <

“Keyscape bakes a
fixed set of processors
and tone-shaping
parameters into
each preset”
picture of the loaded keyboard in the middle
(sadly not mouse-playable); tabbed sound
editing, Settings and Info (revealing the history
of the current keyboard) section at the bottom;
and Utility and System menus at the top.
The browser lets you select from the ten top- With 36 models available, Keyscape provides keyboard wizards with more than just hours of fun
level instrument types in the top pane (Acoustic
Pianos, Clavinets, Electric Pianos, etc), or head
straight to one of the 36 specific models in the Surveying the Keyscape
dropdown menu below. The presets are listed in
the bottom pane, and with over 500 included, We could spend three times as 200A. There are also models by
most of them come in related sets, so ‘Rhodes – many words as we have available Hohner, Yamaha, Vintage Vibe and, er,
Classic Amp’ is followed by ‘Rhodes – Classic for this whole review discussing the Weltmeister (that niche enough for ya?).
Amp Warm Blues’, ‘Rhodes – Classic Amp Clean actual keyboards at the heart of The rest of Keyscape’s main library
Dry’, etc. Keyscape, but here’s a quick comprises a cornucopia of acoustic,
Loading a preset takes a while with many of summary of the highlights – the full electric and digital instruments from
the instruments, even from SSD, as you’d expect, line-up can be explored on the the last century, including three
given their scale. The text ‘Preview ready’ Spectrasonics website. clavinets, a clavichord, four toy pianos,
appears in the progress bar when the patch is Heading up the Acoustic Pianos five more by Rhodes, the Baldwin Solid
available for basic (ie, without round-robins and category is the LA Custom C7, an Body Harpsichord, the Harmochord
the full stack of velocity layers loaded) ‘enhanced’ Yamaha C7 that uses electric reed organ, the dinky dolceola
auditioning onscreen or via an attached “rare long-fiber virgin wool felt” on its and many more.
keyboard, though, which shortens the thumb- hammers. It’s joined by a Wing upright Supplementing the main Presets are
twiddling time a bit. piano from 1900 in two configurations: a wealth of Duo patches, pairing
with tacks on the hammers, and with its different keyboards up for all sorts of
The great ’scape bizarre ball bearing ‘tremolo’ pedal interesting hybrids, with Mix controls
Rather than presenting you with all of its under- option in place. for blending the two. They’re fantastic
the-hood effects and enabling free selection of For us, the best of Keyscape’s as they are, but like the effects, we’d
them in any patch, Keyscape bakes a fixed set of extraordinary series of classic ’boards really like to be able to choose our own
processors and tone-shaping parameters (called is to be found in the Electric Pianos pairings as well. You can of course load
Custom Controls) into each preset, giving category. The main event is the LA Keyscape patches into Omnisphere 2
access only to what Spectrasonics have decided Custom Model E Rhodes, with its glassy and use its effects instead, but
are the most relevant and appropriate rigs for early 80s tone, but we actually prefer obviously that’s only an option for
each one. These processors are housed in the the 73 MkI and the awesome Wurlitzer owners of both.
tabbed area at the bottom, which even changes
the number and names of the tabs themselves
for each patch, but always keeps Main on the left
and Settings and Info on the right, with up to two and mixing of signals for multi-mic, layered and on the instrument. Velocity Sensitivity is
contextual tabs in between. The demarcation Duo presets. always included, and variable sampled Release
between the Main and contextual tabs isn’t Also, ever-present at the right-hand end Noise is available for most of them; but then you
particularly clear, as they all contain effects of of the Main tab is the Performance section, might get a Pedal Noise (for instruments with
various kinds, but we think Main is meant to be which comprises two or three knobs with or sustain pedals), Release Time, Damping or
your first port of call for transformative editing without an accompanying switch, depending Attack knob, too, and possibly a switch for
toggling velocity-sensitive vibrato (the
Clavichord presets), key click (Harmochord
presets), monophonic mode (Rhodes Piano
Bass) or muting of mechanical noise and DI
channels (Electric Harpsichord).
The Settings tab holds Keyscape’s note- and
voicing-related controls. Up to 64 voices of
polyphony can be set, transposition up or down
by one or two octaves applied, and up to two
octaves of pitchbend specified in either
direction. You can also apply between -24dB and
+10dB of Gain, and switch to any of 64 non-
western and esoteric scales (African, Arabic,
Gamelan, Microtonal, etc); and for those working
on less powerful computers (or who want to
Spectrasonics main-
man Eric Persing was
save resources), the Thinning button cuts down
chief sound designer the round-robins and velocity layers to claw
for Roland’s JD-800, back system memory. Wrapping up the Settings
part of the library page, the Velocity panel offers a simple

December 2016 / Computer musiC / 93

> reviews / spectrasonics keyscape

interactive graph in which to reshape the global

velocity response curve, complete with presets
for a small selection of controller keyboards by
Akai, Korg, Novation, Roland et al (we’re told
more presets are due in v1.0.1).
Finally, Keyscape’s System page is where
you toggle the audio engine between streaming
and memory-cached operation (streaming
being the more stable, quicker option), switch
round robin triggering between Sequential
(ie, the same order every time) and Random,
set your startup directory in the browser and
other miscellanea.

Keys to the city

As mentioned earlier in the review, Keyscape
was always going to live or die by the quality
of its 36 emulated keyboards. Happily – and,
given the pedigree of the developers behind
The processing you can use differs depending on the instrument you’ve loaded up
them, not even remotely surprisingly – those
instruments sound phenomenal, serving up a
versatile melange of flavours, from the super Full effect
clean LA Custom C7, through the funky,
evocative electric pianos and clavs, to the pretty Keyscape’s effects, which, as described only has a two-knob setup (Amount
Celeste and other Belltones, and the crusty in the main text, can feel a bit randomly and Gain) but adds in the option to
finish and grit of the toy and tacked pianos. distributed between the Main and other switch to tape-style compression.
The Duo presets, meanwhile, extend the tabs, are superb. Spectrasonics more The Character module, available to
plugin’s remit considerably, and the whole thing than earned their effects modelling certain acoustic pianos, is essentially a
sounds fabulous – authentic, three-dimensional stripes with Omnisphere, and every bit preset-based tone control and a Color
and expressive. of that knowledge and skill has been Shift knob for harmonic brightening
We have a few criticisms, though. First, we’re fully utilised again for Keyscape. and darkening. For more involved tonal
not that fussed about the Vintage Digital Keys The devices on offer take in the sculpting, the excellent Amplifiers and
section (MKS-20, JD-800 and MK-80), but that’s gamut of vintage types, and keep EQs, single Filter and eight vintage-
not to say it won’t find its fans, of course. More things simple with their intuitive, modelled Distortion algorithms all ably
importantly, we’d love to be able to cook up our boiled-down controls. Again, they’re take care of business. Then there are
own Duo combinations and at least have the instrument- and preset-specific. For seriously impressive reverbs, a tape
option of choosing our own effects, rather than example, the LA Custom C7 piano’s echo, luscious modulation effects, a
being made to stick with the prescribed rack Compression module features the full playground of wah-wahs and more.
that comes with each preset or call up Keyscape complement of controls, as befits its No doubt about it, Keyscape’s effects
inside Omnisphere 2. While we appreciate the wide dynamic scope and nuances are on the money in terms of quality
selective approach that Spectrasonics have (Input, Ratio, Sustain, Release and and simplicity – we just wish we could
adopted to keep Keyscape fully focused on the Level), and has a decidedly transparent swap them out with each other, for
particular strengths of every one of its sounds, sound; while the JD-800 – Crystal preset experimentation’s sake if nothing else.
why shouldn’t we be able to push the Dolceola
through a phaser if we want to?
Despite those quibbles, Keyscape is almost
impossible not to fall in love with. The care,
attention to sonic detail and passion that have instrument’, and the sizeable sector of its target Alternatively
been poured into it are palpable at every turn, market who consider themselves keyboardists Synthogy Ivory II Grand Pianos
the huge preset library is an absolute pleasure first and ‘producers’ second will really appreciate 161 » 9/10 » £259
to wander through, and the deep multisampling the almost instant nature of its architecture, Yamaha C7, Bosendorfer 290 and
employed results in a very high level of quite aside from its stunning sound. Steinway D pianos, totalling 77GB
playability. As its almost self-conscious ease of
use suggests, it’s very much a ‘player’s Web www.spectrasonics.com Modartt Pianoteq 5 Pro
208 » 8/10 » €399
Convincing physically modelled
acoustic and electric pianos

Verdict
For 36 highly playable classic keyboards
Exquisitely sampled
Great effects
Massive library of presets
Omnisphere integration

Against No per-key velocity editing

A bit more flexibility wouldn’t go amiss

Keyscape puts an incredible array

of beautifully emulated keyboard
instruments at your fingertips,
Graphic rendering of with high-quality effects to match
the instrument you’ve
called up helps to get
you in the mood 9/10

94 / Computer musiC December 2016

 > reviews / tone2 icarus

Presets OscIllatOrs FIlter FX

With over 1000 three ridiculously versatile Icarus’ two filters access 53 effects (in three insert slots)
presets in its locker, wavetable oscillators, with a broad range of cover all sound-polishing bases
Icarus is ready to go sample resynthesis responses types

envelOPes
Four aHDsr
envelopes with
shape control

arPeggIatOr
generate melodies
from chords and
more with the arp

mODulatIOn matrIX lFOs eQ anD lImIter

VIDEO
assign up to 18 modulation sources three regular Final-stage
2 WITH
MINUTES
…
to an extensive list of targets lFOs and the fully frequency and
editable step lFO dynamics processing

Tone2
Icarus £143
The German purveyors of dance music-orientated synths take to the
skies with a wavetable-based monster. Will it become the stuff of legend?

Tone2 describe their new plugin instrument wavetables that can be loaded into each playback of audio files. Although various
(VST/AU) as a “3D wavetable synthesizer”, by oscillator take in plenty of analogue-style caveats apply (use a clean sample, preferably
which they mean it’s a wavetable synth with the entries (Saws, SawSquareSine, etc) alongside a mono and under two seconds long), and the
ability to morph said wavetables in various ways. ton of interesting electronic tones. With Icarus results never sound exactly like the imported
And that’s by no means the extent of Icarus’ also able to convert external samples to file, the ability to stretch, repitch and ‘shuttle’ the
abilities: it can also do resynthesis and additive wavetables (which we’ll come back to in a sound around feel quasi-magical, and
synthesis, vocoding, unison detuning and moment), the Wavetable menu might only serve experimenting with the Morph modes on your
stacking of three stereo oscillators, and features as a starting point anyway. homemade wavetables proves very productive.
53 effects, a full-on Wavetable Editor, two filters, The third oscillator menu, Morph Mode, applies As well as the basic and looped Resynthesis
an arpeggiator, up-to-audio-rate LFOs and much one of 63 shaping processes to the wavetable styles, there’s also a Granulator option (with
more. Let’s start at the beginning… playback, with the ‘quality’ of the morph set by control over grain density, pitch, position and
the Morph knob. Morphs include filtering, playback speed, the last freezing the sound at
Gives you wings frequency modulation, amplitude modulation, the current grain), and three Time Stretch
Icarus’ three stereo oscillators boast a jaw- harmonic and chord stacking, pulse width modes: Small, Medium and Large, each trading
dropping number of raw output options, housed modulation, phase distortion and hard sync. off timing accuracy against artefacts.
in the Play Mode, Waveshape and Morph Mode Morphs can be rendered into wavetables, too, Next to the Resynthesis button, the Vocoder
menus directly below the waveform display. The enabling several of them to be applied in series menu offers six preset vocoding setups for
38 Play Modes start with your basic Mono (albeit with only the most recent one happening processing imported vocals, drums or anything
oscillator and work through all sorts of (up to in real time). else you like. The vocoder engine has 500 bands
ten-part) detuned stacks, unisons, chords, flange Back to that sample import function, then, and sounds good, but we wouldn’t call it a
effects and HyperSaws. The 50 included which is actually resynthesis rather than simple headline feature.

96 / Computer musIC / December 2016

 tone2 icarus / reviews <

“Four shape-adjustable
AHDSR envelopes,
three LFOs and a step
sequencer can be
brought to bear”
Heating up
Icarus’ two filters draw on a list of 62 types (from
standard ‘analogue’ low-pass, high-pass and
band-pass models to comb filters, vowels, fractals
and a variety of EQ styles) and eight distortion Icarus’ Wavetable Editor lets you draw in waveforms or create them from frequency/phase spectra
modes (Saturate, Soft Clip, Waveshape, etc).
They sound fantastic, whether used for gentle
massaging or more overt sculpting.
Assigned in the 18-slot modulation matrix, Riding the waves
four shape-adjustable AHDSR envelopes
(Volume, Filter and two Auxiliaries), three LFOs A click of the Edit button reveals Icarus’ of graphical tools; in Spectrum mode,
and a step sequencer can be brought to bear on Wavetable Editor, in which 50 included the levels of the partials (harmonics) in
the synth’s oscillators, filters, effects and each wavetables and those resynthesised the signal are adjusted; and in Phase
other. The envelopes feature a menu of preset from imported samples (single-cycle mode, you’re dealing with the ‘phase
ramps, the main LFOs run up to 440Hz and or longer) can be manipulated to an spectrum’, which can be toyed with to
include a huge array of waveshapes, and the extraordinary extent. apply a range of timbral shifts.
Step LFO is effectively a looping multipoint The top strip shows an overview of The menus on the left – Sweep, Mix,
envelope. There’s a very powerful polyphonic the wavetable and its constituent wave Filter, Modify, Spectrum and Phase
arpeggiator onboard too, the output Velocity of ‘slices’ (between 1 and 256 of them), – enable numerous broad shaping
which can be used as a modulation source. with the selected wave displayed in the operations to be performed. Modify, for
Finally, three effect inserts can each host one main editor panel below. A number of example, offers bitcrushing, AM and
of 53 modules (reverbs, delays, dynamics, preset shapes are available for the FM, amongst other things, while Sweep
distortions, EQ, modulation-based processors, whole wavetable and each of its slots, is full of totally transformative edits.
trancegate and more). The effects bank is including several randomising options. The Wavetable Editor works really
configurable in three routings and incorporates The main display offers three edit well in general, but using sliders to set
Feedback and Ducking controls, the latter modes: in Waveform mode, you draw values for the menu modifiers (applied
reducing the level of the effect tail when input is the waveform directly using a palette offline), never feels ‘right’ or intuitive.
present. A three-band EQ and limiter mark the
end of the signal flow.

We’re melting
Icarus is one of the most versatile, impressive- Sonically and functionally, Icarus stands up Alternatively
sounding synths we’ve heard since… well, Xfer well to Xfer’s mighty rival, despite sounding very
Records Serum, whose wavetable crown it different to it. Icarus definitely has that Xfer Records Serum
clearly has its sights set on. The Wavetable characteristic larger-than-life Tone2 vibe – right 213 » 10/10 » $189
Editor is particularly worthy of singling out for from the raw oscillator level upwards, it’s a Arguably edging Icarus out on
praise, as it makes the potentially daunting job shouter, designed to sound big, bold and glossy sound quality, Serum is a stunner
of messing with waveforms supremely easy at all times, which may not be to every
and rewarding. It doesn’t hurt that the whole producer’s taste. It would be unfair to call that a Synapse Audio Dune 2
GUI looks great, either, with its beautiful ‘criticism’, though, and ultimately there’s no 207 » 10/10 » £131
animated waveform display – including a rolling denying that Icarus is Tone2’s finest Another amazing
3D view of the wavetable as it’s scanned – classy achievement yet. Epic in every sense. wavetable-based synth
font and switchable colour scheme. An epic
synth in every sense. Web www.tone2.com
Verdict
For 1000+ presets
Excellent Wavetable Editor
Huge range of oscillator, filter & FX options
Easy resynthesis of samples
Superb LFOs
We love that enormous Tone2 sound

Against You might not love that

enormous Tone2 sound

Flexible, expansive, and with a thoroughly

modern sound, Icarus could give years of
use to any contemporary dance producer

Icarus’ arpeggiator is loaded with melodic, chordal and rhythmic features, and can be used as a modulation source 9/10

December 2016 / Computer musIC / 97

> reviews / unfiltered audio sandman pro

VIDEO

2 WITH
MINUTES
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Unfiltered Audio
Sandman Pro $99
The original Sandman was cheap, cheerful and brilliantly creative, and
we still love it. Can this souped-up rethink bring new ideas to the table?
Unfiltered Audio’s Sandman seriously left, but it’s still a key part of the effect. It sets the for its Pro transformation. The new delay modes
impressed us in 217’s review, scoring sample rate for the entire plugin, rather than just and freeform modulation system would have
9/10 for its playful combination of delay and the input, so it has an effect on delay times been worth upgrading for on their own, but add
looper functionality. The follow-up, Sandman (although there’s a Lock button to counter this) in the waveform display, the high-pass filter, and
Pro (VST/AU/AAX), ups its games in both areas. and pitchshifting. It can also be modulated… the Echoes section, and it becomes immense.
The first change is to the architecture of the There are more detailed delay plugins out
delay line. Six new modes have been added to The Sands of time there, for sure, but Sandman Pro’s six Delay
the original, which is now called ‘Classic Tape’ Sandman features a pair of LFOs for wobbling a Modes are perfectly – ahem – pitched for
and comes with Saturate, Wow and Slew knobs. handful of parameters, but Pro swaps this for creative sound design, and the looper is just
The other modes have their own control sets, the same superb modulation setup as Unfiltered’s amazing. From dubbed-out tape delays and
offering up a rich variety of echo-related Fault ( 236, 9/10). Clicking the Modulation rich multitaps to mind-bending psychedelic
shenanigans, from granular pitchshifting and button pops out a panel into which up to six soundscapes and glitchy micro-loops, Sandman
reverse delays, to ‘instant’ delay time changes modulation sources can be loaded. The signal Pro does it all and more.
and a 16-tap multi-tap. The sixth mode, No Echo, types available to each source comprise Sine,
feeds the input directly to the Sleep Buffer for Saw/Triangle and Square LFOs, an envelope Web www.pluginalliance.com
delay-free stutter effects. The left and right follower, Sample + Hold Noise, and a Macro
delay times can be unlinked, too, in Independent knob. When the Modulation panel is open, a
(separate Delay Time knobs for each channel) or small input ‘socket’ appears on all viable targets
Offset (the right channel knob applies offset (every knob and slider, and almost all buttons), Alternatively
from the left channel’s Delay Time) modes. and to make an assignment you drag a virtual
Unfiltered Audio Sandman
The new Echoes section contains further cable from the modulator output to the target
217 » 9/10 » $49
delay-shaping parameters. Feedback and X-Feed parameter’s input. A single source can modulate
The thrifty alternative. Considerably
control the amount of each channel fed back as many targets as you like, sources can
cheaper and still great
into itself and the other channel, while Diffuse modulate each other, and modulated parameters
dials in an all-pass filter that ‘smears’ the delays are representatively animated in the GUI.
PSP Audioware PSP stompDelay
for a blurring effect. The filter’s been doubled up Lastly, the stereo Width knob and M/S button
232 » 10/10 » $69
too, with a 12dB high-pass running alongside the enable narrowing and broadening of the stereo
Also combines delay and looping
original’s low-pass – but we’re surprised there’s image and mid/side encoding, and Soft Clip
for wild, creative effects
no 24dB option, and that they’re not multimode. applies analogue-style saturation to ‘overs’.
Sandman’s big, central Sample Rate knob has There’s not a single significant element of
been reduced in size and moved to the bottom Sandman that hasn’t been radically overhauled
Verdict
For Six delay modes
Powerful modulation system
The new, improved Sleep Buffer Sample Rate control is still a winner
Two filters
Hit the Sleep button and Sandman Pro’s delay When not in Sleep mode, this simply shows Sleep Buffer waveform display is ace
buffer is frozen and looped, freeing you up to the input signal; in Sleep mode, though, it
get creative with the plugin’s other visualises the left and right channel buffer Against Can’t zoom waveform display
parameters and some dedicated controls. contents and the ‘playhead’ position within Needs more filter types and slopes
Exclusive to the Sleep Buffer in Pro are them in real time, so that modulating the
buttons for Reverse (a one-touch alternative delay times, for example, causes the We loved Sandman, but the Pro version is
to inverting the Start and End points), Smooth waveforms to stretch and compress. It’s an a whole new ball game, primarily thanks
(similar to Sandman’s Remove Clicks button awesome graphical aid, although it could do to the new modulation system and Delay
but with different operation) and Sleep Filter. with an option to zoom in on the active Start/ Modes, and that crazy Sleep Buffer display
Perhaps the coolest new Sleep Buffer End range, as without that, it’s effectively
feature, though, is the waveform display. useless with very short buffer sizes. 9/10

98 / ComPuter muSiC / December 2016

 zynaptiq adaptiverb / reviews <

VIDEO

2 WITH
MINUTES
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Zynaptiq
Adaptiverb £219
Built on machine learning and “harmonic contour filtering”, this radical
new reverb aims to synthesise tails perfectly matched to their sources
Never ones to take the well trodden path, Mix, Wet Gain and Bypass. The bottom section stay fairly intuitive. The tails it generates are
Zynaptiq’s new reverb plugin is billed as a enables switching between the plugin’s three incredibly smooth and feel genuinely symbiotic
“harmonic tracking resynthesis reverb” that Reverb Models (All Pass, Ray Trace and Ray Trace with the input signal. The liquidity, density and
generates reflectionless ambiences “without HD, the last two delivering complex 3D room musicality of the sound really are something to
obscuring the source”. In practical terms, that simulation with a commensurate rise in CPU hit), behold, while the harmonic malleability on offer
means that Adaptiverb synthesises a reverb tail adjusting Reverb Size and high-frequency and input Freeze/HCF Hold functions open up
based on the specific tonal content of the input Damping, and mixing the reverb input between spectacular sound design possibilities.
signal, using artificial intelligence techniques, the synthesised sustain and the input signal. The On the down side, with so much synthesis
rather than simply building it on delays or last is particularly relevant to drums and other going on in the background, the CPU usage can
sampled impulse responses, then conforms it to ‘attacking’ sounds, where the total removal of get comparitively high, and the zero-latency Live
the input’s tonality or even a user-defined scale. transients by the sustain synth can be countered mode is only really useful with long tails, but other
The AI element is the Bionic Sustain by biasing the Reverb Source slider in favour of than that, Adaptiverb is far more than just an
Synthesiser, a machine-learning algorithm that the Input. Indeed, the ability to dial transients in intriguing programming experiment gone right
synthesises a reverb tail based on analysis of the and out of the reverb is remarkable in itself. – it’s a weird, wonderful, lavish, creative reverb
input signal minus transients and other ‘noise’, The centre section features an X/Y pad for with a character and identity all its own.
which are discarded as part of the process. This simultaneous adjustment of Sustain length and
synthesis involves under-the-hood oscillators, Reverb Mix, with a Freeze button for freezing Web www.timespace.com
interconnected and trained like a neural network, and looping a 93ms slice of the input (not the
the number and frequency quantising of which reverb itself, like in many other reverbs). On the
are controlled with the Simplify slider. Oscillator left of those is the Bionic Sustain Synthesiser, Alternatively
interaction can also be affected so that the while the Harmonic Contour Filter section sits
2CAudio B2 Spatial Processor
harmonics at a specified interval are enhanced, on the right, both switchable between the Main
184 » 9/10 » $250
by raising the Richness slider. The sustain then view, where each hosts just one transformative
Supercharged dual-engine reverb
feeds into the Reverb section, which applies control – Richness and Harmonic Filtering,
with absurdly detailed control
diffusion before the signal is shaped and finessed respectively – and Fine-Tune view, in which the
using the powerful Harmonic Contour Filter. full parameter set is revealed.
Eventide Blackhole
One page isn’t really enough to scratch the
181 » 9/10 » $199
Adapt or die surface of this innovative, sonically impressive
A fine reverb for sound design
All of this is accessed via a GUI divided into three plugin. It’s like no other reverb we’ve ever come
and live performance
main areas. The top strip houses controls for across, and although the technology behind it is
adjusting Pre-Delay (up to 1000ms), wet/dry kinda mind-blowing, the interface manages to
Verdict
For Genuinely innovative
The Harmonic Contour Filter Super smooth, beautiful reverb tails
Input Freeze and HCF Hold functions are
The Harmonic Contour Filter establishes and the dissimilar stuff can keep the tail great for drones and sound design
affects the harmonic relationship between the constantly tied to the input pitch, rather than Massive library of excellent presets
input signal and synthesised tail, bringing the clashing with it when it ‘overhangs’ through
two together seamlessly. key changes. Against Rather expensive
In Track mode, the input signal is taken as In Keyboard mode, the reverb is ‘snapped’ Live mode is limited in its utility
the harmonic/pitching source, and the all- to a user-defined key or chord, either by
important bipolar Harmonic Filtering control filtering out harmonics outside that key or Unconventional and unique, Adaptiverb
progressively attenuates similar or dissimilar quantising all of them to its harmonic series, is not only a beautiful all-purpose reverb
elements in the reverb tail. With the similar the latter being the bigger, denser option. but also a rewarding sound-design tool
components removed, very strange, The Breathiness slider adds random noise
dissonant effects arise, while knocking out to the reverb, for added ‘sizzle’ and sheen. 9/10

December 2016 / Computer musiC / 99

> reviews / inear display ephemere

VIDEO

2 WITH
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Inear Display
Ephemere €59
A drum synth in the truest sense, this FM-based plugin gives you a kit
of 12 sounds to manipulate, mix and randomise in all kinds of ways…
A 12-channel drum machine, Ephemere adjustable sine waves. The FM knob determines comes to snares, cymbals and metallic
(VST/AU) generates sounds through a bank the depth of modulation applied by the modulator percussion than it is kicks, toms and other ‘pure’
of 12 identical FM synths, each one assigned to a to the carrier frequency, while Feedback sends drum sounds, but it’s certainly not lacking in any
fixed note of the octave. There are no discrete the output signal back into the carrier input for department. With just that one synthesis
modes or architectures for each type of drum another layer of modulation. As is the way with technique in the clip, it does have a particular
(kick, snare, etc); all 12 are equally capable of the FM, even small adjustments to the oscillator sonic fingerprint – an analogue oscillator would
full gamut of percussion sounds, and simply frequencies, FM depth and feedback can have a significantly broaden its range, as would an effect
titled with their triggering notes – the option to radical effect on the final output. or two – but for raw, hard-edged, high-impact,
rename them seems like an obvious request. The 12dB/octave resonant filter offers a choice clangorous percussion, and even the odd bass,
The GUI is split into three zones. At the top of low-pass, high-pass, band-pass and notch lead or FX sound, this is a well designed, tightly
there’s preset, randomisation and synthesis modes, and features a bipolar control for dialling focused plugin with real punch.
controls for the currently selected sound, while in modulation by the Amp or Pitch envelopes.
below that is a mixer with Amp (level) and Pan The Amp Envelope is two-stage (Attack and Web www.ineardisplay.com
knobs, and Mute and Solo buttons on view for all Release), as befits its percussive application, and
12 notes/channels. Clicking anywhere in a channel the slope of each stage can be shifted from linear
strip selects that channel for editing in the to exponential using the Snap knobs. The Pitch
synthesis section above. Finally, you get global Envelope provides that essential downward Alternatively
randomisation switches, a master gain control, kick/tom pitchbend with its Release, Release FXpansion Tremor
various ancillary buttons (Copy and Paste, etc), Snap and modulation Depth controls, and is 176 » 10/10 » £99
the preset Kit library and the Config menu loopable for pseudo-LFO and delay effects. Stunning drum synth, polyrhythmic
(Undo/Redo, Initialize, UI Scale, etc). It’s a very Finally, the Output section houses a more/ sequencing and deep modulation
quick layout to find your way around. less Distortion knob, a switch for turning
Presets are handled at both the kit and sound amplitude Velocity sensitivity on and off, and the Sonic Charge Microtonic 3
level, with 12 kits and 159 sounds onboard. It Trigger Probability control, for adjusting the 163 » 9/10 » $119
might not be a vast collection, but making new likelihood of each incoming MIDI note actually Groovy drum synth and sequencer
sounds and kits is so easy that expanding it with triggering, from 0-100%. The distortion sounds from the man behind Mälstrom
your own creations becomes part of the workflow. decent, and Trig Prob is great for adding a bit (or
a lot) of performance variation, albeit with no
Carry that weight way to capture the results.
Each FM synth comprises carrier and modulator As you might expect, being an FM synth,
oscillators, both outputting frequency- Ephemere is rather more expressive when it
Verdict
For Excellent electronic drum and
percussion sounds
Incredibly easy to make new sounds fast
Take a chance Tons of genuinely useful randomisation
Trig Prob is cool
As with Inear Display’s other plugins, The Random section has buttons for
controlled randomisation is one of shaking up the whole kit: Trigger randomises Against FM only
Ephemere’s headline features. At the top left all Trig Prob knobs, Controls randomises all Can’t rename channels
of the GUI, the RND button randomises all synth controls, and Presets chooses a No effects or sequencing
parameters of the selected sound to an random sound preset for each channel.
extent determined by the dial next to it. So, Our favourite of all, though, is the slider Great FM synthesis, easy programmability
with it only raised a touch, the newly created under every synth control that lets you set a and superb randomising make Ephemere
sound won’t be too distant from the starting range to randomly set its value with each a drum machine to be reckoned with. It
point. All the way up, however, and the old incoming MIDI note. Using this, you can could do with some effects, though
and new sounds will bear no resemblance to breathe real life and organic motion into even
each other at all, except by coincidence. the most rigid of drum patterns. 8/10

100 / ComputEr musiC / December 2016

> reviews / soundradix surfereq2

VIDEO

2 WITH
MINUTES
…

SoundRadix
SurferEQ2 $199
We dug version 1, but weren’t sure if we really needed it – can the
redesigned sequel broaden the appeal of this esoteric EQ plugin?
Released in 2012, SoundRadix’ SurferEQ MIDI triggering works in three modes: without compromising their harmonic balance
combined equalisation and pitch tracking, incoming MIDI overrides the internal pitch is truly remarkable. For the average electronic
shifting its five main frequency bands and two detection; internal pitch detection is disabled producer, however, it’s still a very ‘specialist’
filters (high- and low-pass) up and down to stay and Surfing bands are toggled on and off and plugin. We’re also slightly disappointed to find
focused on a sound, rather like a synth’s filter follow incoming pitch via MIDI note on/off; and that the parametric Q still snaps to four fixed
keytracking. In 176, we gave it 7/10, concluding internal pitch detection is disabled and MIDI settings, the narrowest of which isn’t nearly tight
that, although it was very handy for correcting notes override internal pitch detection and act enough for surgical work.
timbral unpleasantries of various kinds in vocals like an audio gate. The sidechain, meanwhile, That said, ultimately, SurferEQ2 is a unique,
and solo instrumentation, its very specific does exactly what you’d expect, swapping the undeniably powerful sonic tool that not only
functions and inability to deal with polyphonic pitch detection over from the main input signal elevates v1’s already accurate, natural sounding
material made it a niche proposition. What we to an external one. As well as making SurferEQ2 ‘EQ surfing’ of monophonic material to
thought SurferEQ needed above all else was a more viable option for polyphonic material, impressive new heights, but also steps the
audio sidechain and MIDI inputs, so that the EQ the sidechain and MIDI inputs enable frequency- whole concept up in terms of flexibility.
bands could be shuttled around independently specific ducking of one signal, opening up a new
of the signal being processed. There was already range of potential usage scenarios. Web www.soundradix.com
an automatable Override Pitch control onboard, Available to the centre band only, SurferEQ’s
after all… Harmonic Filter cuts or boosts the harmonics of
the target frequency, although, as noted in our Alternatively
Surf’s up original review, it’s better suited to creative sound FabFilter Pro-Q 2
Happily, it seems the development team were design than corrective work. In v2, its original 211 » 10/10 » £114
listening, as both MIDI input and sidechaining four modes (each defining the resonance, shape Doesn’t do what SurferEQ2 does,
have since been added to their plugin – the first and relative depth of each filter) have been but it’s one of the finest EQs around
with version 1.2, and the second with the full v2, doubled to eight. There’s also a zero-latency
which we’re looking at here. SurferEQ2 (VST/AU/ mode, adjustment of the Surf time between MeldaProduction
AAX/RTAS) also works in a number of other notes (1-5000ms), and you can now limit the MAutoDynamicEQ 8
helpful new features, as well as introducing a ranges of the high/low filters in Surf mode. 206 » 9/10 » €69
completely redesigned non-skeumorphic, SurferEQ2’s new features certainly up its Similarly innovative with its
Retina/HiDPI-compatible GUI. It looks great and game, particularly the sidechained frequency brilliant automatic EQ system
includes a keyboard graphic in the main display, ducking, MIDI triggering and Spectral Gate; and
showing the centre/corner frequencies of all its ability to dynamically sculpt the frequency
seven colour-coded bands in musical pitch. make-up of instrumental sounds and vocals Verdict
For MIDI pitch tracking
Sidechain for external pitch tracking
Spectral gate Spectral Gate adds a cool new dimension
Surf time control for custom EQ morphing
The other really big new feature added in determined by the Attack and Recovery Very accurate pitchtracking
SurferEQ2, alongside the external MIDI Time controls.
and sidechain pitch tracking, is the The Spectral Gate works particularly well Against Still quite niche
Spectral Gate. Each band has a GTE button, in conjunction with the sidechain – ideal for Q widths still limited
and with it turned on, that band is activated returning the gains of ducked frequencies
when the input or sidechain signal crosses when the ducking source is silent, for Broadening its remit with external pitch
the threshold set by the GTE THR slider on example – but is just a great inclusion, tracking and the Spectral Gate, v2 of this
the left, and deactivated when it drops generally, bringing a dynamics-related clever EQ is considerably more versatile
below it – or vice-versa in Reverse mode. angle to the plugin that’s useful for basing and capable than its predecessor
The speeds at which the bands rise from the response of the EQ on the loudness of
zero to full gain and fall back to zero are the signal. 8/10

102 / ComputEr muSiC / December 2016

 mini reviews / reviews <

mini reviews
A rapid-fire round-up of sample libraries, ROMplers and music gear

IK Multimedia
sampletank 2 £15

Web www.ikmultimedia.com except for EQ/Comp, which features

Format iOS Low and High shelves, a sweepable
Mid band and a compression amount
The mobile version of IK’s powerful desktop control. There’s also a shared master
workstation is boosted for v2, seeing an increase reverb with three ‘types’ to choose
from four tracks to eight, a redesigned browser, from, plus Level and Time knobs.
support for audio loops, a new higher quality The sound engine, lifted from the
tier to the IAP instrument library in the shape of desktop SampleTank 3, sounds great
the SampleTank Pro series, and a multitimbral and is impressively efficient.
Live mode for use on stage. Live mode takes out the
The basic library comprises around 140 sequencing, puts all eight slots on a
instruments, in 16 categories (Drums, Bass, Keys, single screen, and makes each layer’s
Vocals, FX, etc), but this is expandable to over key range editable, for multitimbral
1900 via the enormous online store. Songs are stacking and keyzoning. Sadly, layered
recorded and overdubbed part by part, using play only works with an attached MIDI
your MIDI controller or the onscreen keys and keyboard and not the onscreen one, which can’t from the main SampleTank library that you don’t
drum pads, and each instrument category output in Omni MIDI mode – a bizarre omission. yet own installed with the app (1.6GB in total) but
comes with an expandable (to around 1200) SampleTank 2 is a solid-enough app, but greyed out in the library menus, to tempt you
roster of transposable preset patterns. there are quite a few problems. The most into auditioning and buying them.
You get a little bit of sound editing – Volume, pertinent from a technical perspective is that Irritating as a production platform, SampleTank
Pan and Transpose, filter Cutoff and Resonance, there’s still no editing of patterns beyond 2’s main strength is its potential for live
and envelope Attack and Release – and up to applying quantise, severely limiting it as a performance. Even then, the number of usable
four predefined insert effects per instrument, songwriting tool. The IAP nagging feels sounds for your initial 15 quid is disappointing.
each offering just one tweakable parameter, relentless, too, with the many, many sounds n7/10n

Spitfire Audio Ju-X

North 7 Vintage Keys £236 Frosting $36
Web www.timespace.com Web www.ju-x.com
Format Mac/PC, VST/AU, Kontakt 5/Player Format Mac/PC

Four multisampled classic electric A clever little audio ‘freezer’ plugin

pianos (21,860 samples, 25GB (VST/AU/AAX) that grabs a one-beat long
uncompressed) for Kontakt and ‘microloop’ when the big button at the top is
Kontakt Player, presented in Sptifire’s pressed via the mouse or a keyboard
supercharged dual-layer eDNA shortcut, and lets you sequence its playback
engine, as previously seen in Albion via an up-to-eight-step gate sequencer. The
One and eDNA Earth ( 211 and tempo can be synced to host or tapped, and
225, 10/10). The instruments the speed of the sequencer (and thus the
themselves comprise a Rhodes length of the loop) is manipulated in real
Stage 73, a Clavichord, a Wurlitzer time, either synced using the two Duration
and a 1962 Rhodes Piano Bass, all fields or manually with the slider. The
sampled via DI as well as through a second option is most fun, making it easy to
range of amps. The eDNA scripted create tearing glitch edits and odd timings.
engine might look like an odd choice, with its decidedly un-vintage, Frosting can run fully wet (so that only
un-‘keyboardy’ GUI, but it’s certainly powerful, and the three active steps are heard), mixed with the dry
folders of presets created using its deeper functionality showcase signal, or in Replace mode, where the dry
its potential very well. signal comes through on inactive steps and the microloop
North 7 Vintage Keys is another stellar release from Spitfire, plays on active ones; and you can kick the loop into reverse.
combining knock-out sounds – the Bass Piano, in particular – with The Duration setting is confusing (‘4th’, for example, refers
excellent playability and an engine that is, if anything, more to a quarter of a beat, not a quarter-note); gate attack and
powerful than it needs to be. However, this doesn’t quite get a release controls would be helpful for ironing out rough edges;
10/10 score due to the fact that there’s no included manual, which, and it’s about $10 too expensive. Nonetheless, Frosting is a
at this price, beggars belief – particularly given that the inclusion of fantastic live performance plugin that adventurous electronic
one is trumpeted on the web page! producers will have a great time with.
n9/10n n8/10n

December 2016 / Computer musiC / 103

> reviews / mini reviews

Soundware round-up
Sound Dust
pendleonium3 £30
Pendle Poucher’s latest Kontakt library centres on the
mixing of five signals: clean and dirty baritone guitars,
a baritone guitar recorded through a Roland Space
Echo chorus, two Fernandez Sustainer ‘infinite guitars’
(think Ebow, again clean and dirty), and a broken viola
run through a Vermona spring reverb. The scripted
interface is packed with things to do – filtering, effects
and modulation – and Pendleonium3’s selection of
intriguing guitar-sourced sounds come together
beautifully in a wealth of gritty pads, textures, drones,
ambiences, plucks and FX. Great stuff, at a very fair price.
www.timespace.com
n9/10n

FXpansion
metal snares £49
Five very tasty add-on snare drums for BFD3, totalling
23GB but with lighter installs also available: 14"x6.5"
Zildjian Cast Bronze, Gretsch Bell Brass and Ludwig
402 (aluminium), 14"x6" Sonor Artist Cast Bronze, and
13"x6.5" Pearl Joey Jordison Signature (steel). Each
drum was recorded – snare wires on and off – through
two top mics, one bottom mic, plus mono, ribbon and
far room mics for deep mixability. You get one ‘Pure’
and two ‘Processed’ versions of each (compression,
saturation and EQ), and they all sound fabulous

Sample Magic – although the Zildjian is tuned a bit low for our taste.
www.fxpansion.com

Crate Diggers £35 n9/10n

The name says it all: Crate Diggers is a Loopmasters

dusty, ‘golden era’-inspired library of Hip Hop shadows Vol ii £25

We rather liked Hip Hop Shadows Vol 1
old-school beats, breaks, “sample (7/10, 227), but felt that it didn’t have a great
deal of meaningful production utility. The sequel
loops”, groove construction kits and is more of the same, comprising 12 laid-back
hip-hop construction kits of six to nine loops
more – 1219 samples, roughly 500 of each, plus various of their component bits and
pieces mapped in a range of sampler formats.

them loops, the rest one-shots. The The tracks are sublime (think J Dilla, DJ Krush
and the like), but beyond remixing them and
milking the sampler patches, the practical offering
emphasis is on drums and percussion here remains limited.
www.loopmasters.com
but there’s a ton of melodic, n7/10n
atmospheric and ‘samplist miscellania’
content, too – and we don’t think we’ve Sample Magic
eclectic D&B £35
ever come across a bigger collection of Sample Magic don’t often release DnB libraries, so
vinyl crackle loops! Incredible value when a new one comes along, expectations are high.
The basses, melodics and textures of Eclectic D&B

and bursting with inspirational goodies, (1.4GB) are epic, spacey and imposing, while the
stemmed drum loops hit hard with their strident
kicks and pitched-up snares – shame there are only 15
Crate Diggers is a must-have for any of them. The hyperactive beats in the Twisted Breaks
folder are another highlight, while a quality selection
hip-hop producer. of one-shots and sampler patches – including ten
awesome multisampled bass Live Racks – brings
www.samplemagic.com versatility to the package. Nice work.
www.samplemagic.com
n 10/100 n8/10n

104 / Computer musiC December 2016

 mini reviews / reviews <

Native Instruments Mode Audio

Hexagon Highway £44 Beat scenes £13
Produced by Twisted Tools (creators of NI’s Polyplex 60 presets for Native Instruments’ Massive synth,
drum sampler), this electronica expansion for designed with the LA beat scene in mind and exuding
Maschine 2 focuses on drum, percussion and FX, warmth, sensitivity and nuance. The distribution is
but also includes a couple of bass and/or melodic pretty even between the categories, which include
sounds per Kit. It’s a crisp, varied and vibey library basses, leads, pads, chords and percussion; and each
of 60 Kits, incorporating 38 Massive and 14 Monark preset comes with an associated tempo-labelled MIDI
presets, and a handful of Drum Synths, plus 20 clip showing it off – although some are preceded by
‘Advanced Multi-Effect’ kits, complete with multi- far too much empty space (56 bars in one case!). And
parameter automation clips with which to bring as should now be considered essential in any Massive
them to life – a great idea that we hope catches on library, all eight Macros are assigned in every patch.
with other Expansion developers. Lovely sounds at a thumbs-up price.
www.native-instruments.com www.modeaudio.com
n9/10n n9/10n

Toontrack Industrial Strength Records

eZKeys string machines £105 Voice Vol. 9 £30
Running in the EZKeys engine, String Machine sees This 1.1GB collection of female vocals divides its core
Toontrack multisampling a 70s Solina String library of 150 phrases into two diva-esque styles: one
Ensemble, along with “several other machines from a ‘vintage’, Amy Winehouse kind of thing at 118bpm,
the same era”, to create 69 presets, including all the the other more shouty and housey, at 124bpm. All are
original String Ensemble patch combinations. Each presented dry and processed (reverb and delay), and
preset has its own small set of adjustable effects and the anonymous singer purrs/belts them out with real
other parameters (mix levels for the original combos, conviction and technique. Repitched versions of 30
for example), and the String Ensemble’s Out 2 circuit of them are also included, as are 50 one-shot syllabic
has been emulated using EQ, for a warmer tone when cuts. The processed loops feel like a bit of a size-
switched in. With its very retro sound, String Machine boosting tactic, but that doesn’t significantly mar this
is a solid addition to the EZKeys line-up. high-quality vocal resource.
www.timespace.com www.loopmasters.com
n8/10n n8/10n

Samplephonics SympleSound
modular Ascension £35 Fm Collection: Volume 1 $60
259 loops and 150 one-shots sampled from a range of Also available individually, the three libraries of
modular synths running through an analogue signal SympleSound’s follow-up to The Analog Collection
chain. What really stands out is the sheer variety of (8/10, 230) comprise Ableton Live Instrument and
sounds on offer – producers Knox have clearly made Effect Racks based on multisampled Yamaha DX7
a concerted effort to keep things interesting at every and TX817 FM synths, and Live’s own Operator. Each
turn. From basses and leads to pads, textures, FX and one comes in Bass, Pad, Lead and Pluck variants, with
even vocals, both the sounds themselves and the fully assigned Macros enabling a degree of editing,
sequencing of them impress; but we particularly like and a small roster of MIDI clips. The two sampled
the drum and percussion loops, which are synths are perfectly rendered, Operator is expertly
wonderfully diverse in terms of style and tonality. wrangled, and the documentation (integrated as Live
Earthy, authentic and full of surprises. Lessons) is superb.
www.samplephonics.com www.symplesound.com
n9/10n n8/10n

RV Samplepacks Loopmasters
Designer Linn Drums £15 trap Drift £30
661 one-shot samples capturing every sound of the 1.4GB of loops, hits, MIDI files, sampler patches and
legendary Linn Drum in various processed and Massive presets for “melodic trap” production. The
layered states. Highlights include the tuned kick TR-808 features heavily in the bass and drum
drums, stacked claps and comprehensive array of departments, both of which are stylistically on the
snare drums, but there’s nothing in this well money. It’s the 74 Music Loops that really catch the
organised, easy-to-use library that doesn’t deserve to ear, though, delivering plenty of chilled-out,
be there. 15 excellent ‘bonus’ loops are also included, emotionally charged keys, leads, plucks and more.
as are 15 mapped sampler patches. DLD is a joyful Trap isn’t necessarily the most exciting genre on
celebration of one of the greatest drum machines of which to base a sample library, but Trap Drift pulls it
all time, providing dance music producers with a off with aplomb, successfully finding its own angle
cheap-as-chips smorgasbord of mix-ready hits. and hitting the mark in terms of production quality.
www.loopmasters.com www.loopmasters.com
n10/10n n9/10n

December 2016 / Computer musiC / 105

> dvd/download / samples

Samples giveaway

DUB
DESIGNER
Get that Jamaican flavour with 500 exclusive free samples
Of all the musical genres to emerge in the which contain dub rhythm section staples:
past six decades, the laid-back reggae beats, bass and guitar. The basslines come from
subgenre of dub is surely one of the most real recordings processed through Amplitube,
influential, especially to anyone using while the ‘FX’ versions of them see the signal
technology to make music. 1960s dub reamped through a number of pedals and
pioneers such as King Tubby and Lee ‘Scratch’ outboard gear. The beats were mixed, then
Perry spawned the genre by stripping down processed with reverb and echo on busses. Again,
DowNloaD
and rebuilding dense, vocal-led reggae tracks you get ‘FX’ versions with extra dirt and grit, too.
Get these exclusive samples
to the absolute minimum, before building “The Guitar ‘Chops’ and ‘Dub’ sounds come on your PC/Mac over at
them back up using hands-on mixing desk from real guitars, and were sent through a suite vault.computermusic.co.uk

trickery, fader riding and analogue delay of effects – moreso for the Dub samples.”
washes to create what was essentially the
birth of the ‘remix’ as we know it. These live Groove Criminals
jams were pressed (ie, ‘dubbed’) onto vinyl in Oli Bell dusted off his grungy effects units for his
real time, in one take – hence the name. sample-crafting sessions this month. “Dub is
Nowadays, dub influences permeate all mostly about the effects, and this time we’ve
genres. No matter what style of music you make, gone for an exclusively vintage hardware setup
you’ll find a use for a huge delay tail, siren FX, a of varying quality… for that grimy dub vibe! All
minimal vocal chop or heavy sub bass. To that
end, we’ve put together this issue’s vibe-tastic
the samples, drum hits, guitar chugs and such
have been sent through a variety of tasty
508 EXCLUSIVE SAMPLES
Dub Designer sample pack, containing 500 outboard for that authentic dub flavour. 250 BPM loops
essential dub sounds for your samples folder. “For reverb, we went for two main spring
124 Drum hits
models, and hit them hard with the input signal
Cyclick to give that signature twang and ‘liquidity’. For 46 Dub FX
Robbie Stamp of Cyclick divulges how his part of delays, we used a Roland Space Echo and a 63 Dub hits/Delays
this pack was made. “My dub samples come in Watkins Copicat tape delay for those greasy 25 Loops
four tempo folders – 85, 95, 105 and 130bpm – fading and pitch-modulated delay tails.”

The acoustic collection

Extraterrestrial synth lines, robotic basses and
warbling vocodered vocals all have their places, 2003 wAV SoUndS
but it’s often a good idea to go back to ‘proper’
instruments once in a while. You know, those 204 Loops
things made of wood or metal that you blow, 48 Chords and misc.
pluck, strum or bow to make a sound? So if your
only musical language consists of 0s and 1s, and 9 Multisampled
you think a piano is one of those ‘old-school instruments
MIDI keyboards’, then we’ve got just the bonus 363 Loops
acoUStIc sample pack for you: the CM Acoustic
Collection! Taken straight from the CM archives,
43 Trills

collEctIoN this sizable 2GB pack is crammed full of guitars,

12-strings, organs, banjos, mandolins, kalimbas
537 Chords
205 Rhythms
and real percussion. Enjoy!

106 / compUtER mUSIc / December 2016

 samples / dvd/download <

Bonus loopmasters samples!

Get them on the DVD or download from vault.computermusic.co.uk
01 Famous Audio Future Memories 05 303: Three Zero Three
02 RV Samplepacks Beat Scratch 06 Culprate Sampling Reality
03 Max Chapman SubFreqTech 07 Tabla Sessions
04 Singomakers On Air Music 08 Undrgrnd Sounds Real Deep

December 2016 / compUtER mUSIc / 107

> dvd/download / plugins

plugINS guIDE

INSTRUMENTS download
AAs well as on our DVD, you’ll
find all these plugins at
vvault.computermusic.co.uk

Our exclusive collection HYBRID SYNTHS

of instruments and
effects is included
with every issue of Cableguys Curve 2.6 CM
• Design-your-own-waveforms synth
KV331 Audio SynthMaster CM
• Dual wavescanning oscillators

Computer Music – it’s • New waveform capabilities for v2.6

• Phat 16-voice Unison mode
• Based on Cableguys Curve 2.6
• Multimode filter and built-in effects
• Customisable waveshaping distortion
• FM/AM synthesis modes

got all you need to • AU/VST/RTAS, 32-/64-bit • Based on SynthMaster 2.5

www.cableguys.de • AU/VST, 32-/64-bit
www.kv331audio.com

make great music now!

The Plugins collection is a suite of complete, limitation-free
instrument and effects plugins. It’s an incredible resource, boasting
more than 65 pro-quality plugins that you won’t find anywhere else, all
for PC and Mac, in VST and AU formats. All of the included software is Synapse Audio Dune CM Klevgränd Enkl CM
• VA and wavetable oscillators • Classic monosynth design
created exclusively for us by respected commercial developers such as • Modulation, arpeggiator and effects
• Powerful per-voice modulation
D16 Group, AudioRealism, Ohm Force, KV331 Audio, u-he, Cableguys, • 12-slot modulation matrix • Based on the full Enkl synth
AudioThing, XILS-lab, Vengeance-Sound, Rob Papen, zplane and more. • Based on the full version of Dune • AU/VST 32-/64-bit
• AU/VST, 32-/64-bit www.klevgrand.se
www.synapse-audio.com

frequently asked questions

What is Plugins? Is it just (aka DAW) to host them (ie, ‘plug
freeware from the internet? in’ to). You need a DAW that can
No, and neither are the plugins host VST or AU plugins, such as u-he Bazille CM
limited or ‘crippled’. It’s a set of Ableton Live, Reaper, FL Studio u-he Zebra CM • Patchable modular synth plugin
virtual instruments and effects (PC), Cubase, Sonar (PC), Logic • Blendable oscillator waveforms • Sequencer and Mapping Generator
created by some of the best (Mac) or Garageband (Mac). • Super-programmable step LFOs • Audio-rate modulation, Fractalizer
developers in the business just for • Slick delay, reverb and chorus/phaser • Based on the full Bazille
• Original synth designed just for CM • AU/VST 32-/64-bit
us – you won’t find this set of What happened to…! www.u-he.com
• AU/VST, 32-/64-bit
plugins anywhere else! As of 209, many Plugins www.u-he.com
have been upgraded to include
Where do I get Plugins? 64-bit compatibility. The few older
As a download from our Vault Plugins that remain 32-bit-only
(see p5 for instructions on how – such as Amplifikation CM, Rhino
to access). CM and KR-Delay/KR-Reverb – are
now included in the 32-bit only
How do I install Plugins? subfolders. These plugins require
You’ll find specific installation either a 32-bit host or a suitable
instructions for each plugin ‘bit bridge’ (eg, jBridge) for use
Enzyme CM
• Scanned synthesis sound generation
in the How To Install file in the within a 64-bit DAW. • Straightforward preset-based setup
CM Plugins folder. • Assign presets’ parameters to controls
Still got questions? • Based on the full Enzyme synth
What do I need to use them? See the full FAQ at • AU/VST, 32-/64-bit
A PC or Mac and a music program bit.ly/cmpluginsfaq www.humanoidsoundsystems.com

108 / Computer musiC / December 2016

 plugins / dvd/download <

plugins reloaded / make music now <

!
W
> Step by step

n CM Plugins TuTorial Bank

11. Piano and vintage synth sounds

e
download
Download Curve 2 CM, the
videos and tutorial files at
versatile, inspiring synth, the latest

vault.computermusic.co.uk
Plugins family
focus We turn our attention to this

VIDEO
TUTORIAL

Satson… and on…

1 2
We’ve got almost all the musical ideas We play some chords into the track
we need to create a full tune, but we (Piano.mid) and copy some over from
It can’t have escaped your need to spice it up with extras and ‘ear the strings track. The piano sound is quite
attention that we’ve used the
addition to the

candy’. First, let’s process a piano patch so short, so we raise the Release to 70%, to
Satson CM plugin on almost that it sounds a bit like it’s been sampled lengthen it, making it more suitable for
every track in our tune. There’s a from an older tune. We start by loading a our track. We also turn the Delay Mix to 0
good reason for this: It’s MIDI track panned 9R with a patch from to knock out off the inbuilt echo effect.
awesome! Satson CM emulates the Keys»Gran Piano preset in Alchemy
the sound of a hardware mixer Player CM.
channel and it’s designed to be
placed on every track in your
mix, to lend its subtle signature

To help you get the most out of our immense plugin with tutorial PDFs and videos on using Plugins for sound
sound to, well, everything.
It’s light on CPU and can make
pretty much any track sound
CURVE 2 CM

warmer and more rounded. The

plugin can also help to smooth
out the sometimes-harsh sound
of digital synths. Driven harder,
Satson CM can provide some
authentically vintage sounding
distortion effects. The gentle
high- and low-cut filters give us a

collection, we’ve assembled the Plugins Tutorial Bank, design, mixing, and even creating entire tracks. You’ll find all
quick and easy way of thinning

3 4
out muddy lows or rolling off We EQ the piano in quite a distinctive Next, a vintage synth lead line
way in IIEQPro, using the curve shown (Glide.mid) from PolyKBII CM, which
tinny highs, and you can switch here, cutting off the low frequencies and boasts some truly great analogue-style
off the drive function if you just adding a big boost at around 8kHz, for a sounds. We choose Lead»All»LD Soaring
want to use it for the filters. For a thinned out, vintage kind of sound. The Glider JRM and play in a melody line
closer look at Satson CM take a piano sound is finished off by Satson CM, using the pitchbend wheel to add interest
look at our YouTube video at with the Gain increased to +4 and High (Glider.mid). We add Satson CM with -3
www.bit.ly/Ov2WMF. Pass set at 400Hz to lose even more Gain, 750Hz High Pass and 16kHz Low
low end. Pass, enabling the tighter 12dB/oct mode.

containing over 100 guides and tutorials for our Plugins, of this as a handy download in our Vault – go grab it now and
> Step by step 12. Risers and effects with Alchemy Player CM

specially selected from past issues. You’ll find Getting Started start getting more out of your plugins!
>

VIDEO
TUTORIAL

1 2 3
We’re going to need a few one-shot We take the easy option for the reverb, There’s a good white noise riser sound
percussion FX to sprinkle throughout using ReverberateCM’s Cathedral in Alchemy Player: Sound
the track, and a really simple way to create preset, with the Dry/Wet at 10dB Wet to Effects»Breakdown Booom. This patch
them is to load Alchemy Player CM on a create some big, splashy hits and crashes. uses four different layers, so we use the
new track and select the Drums»Four An instance of Satson CM set to 400Hz on X/Y 1 matrix to manipulate it. Dragging

vault.computermusic.co.uk
74

PDFs and videos for most of the individual plugins, along

Way Drum Morph preset. Add the High Pass dial removes some of the the control to the top right of the panel
KR-DelayCM set to PingPong mode and more boomy elements, which could means that only the white noise sweep
1/4 beat Sync Delay time. A Feedback and conflict with the kick drum and bass. layer of the sample is played. In the track,
Dry/Wet level of 40% is perfect. we can use volume and pan automation
to add interest.

December 2012 / COMPUTER MUSIC / 47

VIRTUAL DRUM OTHER

ANALOGUE MACHINES
SYNTHS
DopeVST Beat Machine CM Rob Papen RG-Muted CM
• 50 ready-mixed royalty-free kits
DopeVST Bass Engine CM • Creates realistic funky guitar grooves
• 50 MIDI beats included • 45 authentic hip-hop bass patches • Sequencer, FX and modulation
• AU/VST, 32-/64-bit • Three eras of faux-sampled material • AU/VST, 32-/64-bit
LinPlug Alpha CM www.dopevst.com • Envelope and note controls www.robpapen.com
• Dual oscillators with blendable waves • 50 MIDI riffs included
• Easy operation • Modulation matrix • Based on the full Bass Engine
• Slick chorus effect • Polyphonic glide • AU/VST, 32-/64-bit
• Based on the commercial Alpha synth www.dopevst.com
• AU/VST, 32-/64-bit
www.linplug.com

AudioRealism ADM CM AudioThing miniBit CM

• Old-school-style drum machine • 15-waveform chiptune synth
• Emulates Roland’s legendary TR-606 • Envelope, LFO, bit/sample reduction
• AU/VST, 32-/64-bit • AU/VST, 32-/64-bit
www.audiorealism.se www.audiothing.net
XILS-lab PolyKB II CM Kirnu Cream CM
• Models the ultra-rare PolyKobol synth • Master arpeggios with this MIDI tool
• Packed with mix-ready preset variants • Get more out of plugin instruments by
• Knobs assignable to main parameters controlling them with Cream CM!
• Based on XILS-lab’s PolyKB II • Program and store complex patterns
• AU/VST/RTAS, 32-/64-bit • Musical controls for rhythm and notes
www.xils-lab.com • AU/VST, 32-/64-bit
www.kirnuarp.com zplane vielklang 2 CM
brunsandspork Grooove CM • Pitch-correct and retune audio
• Load in two samples per sound and • Harmonise melodies with ease
choose how they respond to velocity • Algorithms by the experts at zplane
• 50 built-in Micro Kits to play • AU/VST/AAX, 32-/64-bit
• AU/VST, 32-/64-bit www.zplane.de
www.brunsandspork.com Camel Audio
Alchemy Player CM
Madrona Labs Aalto CM
• Unique and powerful monosynth
SAMPLERS • 200 awesome ready-to-play patches
• Loads SFZ patches – often included in
• Unusual oscillators with FM our own sample collections!
• Waveguide delay section • Based on the full Alchemy synth
• Intuitively patchable modulation • AU/VST/RTAS, 32-/64-bit Squaredheads Nora CM
• Onboard reverb • Step sequencing www.camelaudio.com • Input up to four notes, output chords
• Based on the full Aalto synth and arpeggios across three octaves
• AU/VST, 32-/64-bit • Program velocities and store patterns
www.madronalabs.com • Based on the full Nora and Nora 2
Expert Sleepers • AU/VST, 32-/64-bit
XFadeLooper CM • Mac users require OS X 10.8 or above
• Creative crossfade-looping sampler www.squaredheads.com
• AU/VST, 32-/64-bit
www.expert-sleepers.co.uk
Eisenberg Einklang CM
• Morph between a trio of oscillators
• Envelope and timbre controls
XILS-lab XILS 3 CM • Modulate tone with the LFO
• Modelled on the EMS VCS 3 modular • Based on the full Einklang synth
• Authentic oscillators, spring reverb • AU/VST, 32-/64-bit Monoplugs B-Step CM
and ring mod circuits of the original www.eisenberg-audio.de • Step sequencer for beats and chords
• Added chorus and delay effects Loomer Cumulus • Easily creates chord progressions
• Pin matrices to ‘patch’ the signal flow • Granular sampler with sequencing • Seven pages of controls to dial in
• AU/VST, 32-/64-bit • AU/VST (RTAS/Standalone 32-bit) • AU/VST, 32-/64-bit
www.xils-lab.com www.loomer.co.uk www.monoplugs.com

December 2016 / Computer musiC / 109

> dvd/download / plugins

plugINS guIDE
EFFECTS
EQ/ FILTERS

Ohm Force Ohmygod!

• Resonant comb filter
• Distortion section
DDMF CM EQ Pack • LFO with sync
• Two superb equalisers • Output filter
• IIEQ Pro CM: 19 filter types • AU/VST/RTAS, 32-/64-bit
• LP10 CM: Linear phase mastering EQ www.ohmforce.com
• Based on commercial DDMF plugins
• AU/VST, 32-/64-bit
www.ddmf.eu
FEaTurED Plugin

sKnote snap
OverTone DSP
Program EQ CM
• Pultec-style vintage EQ emulation
• Dual bass boost/attenuate controls;
high-mid boost; high shelf cut
Simple on the surface but eaReackon CM-EQUA 87
• Tube amplifier circuit-only option
• AU/VST, 32-/64-bit
advanced under the hood, this • Smooth three-band EQ
• Adjustable low-cut filter
www.overtonedsp.co.uk

unique transient-filtering tool is • Switchable high/low shelves

• Analyser, EQ tips, limiter and more
• Based on eaReckon’s PR-EQUA 87
exclusive to us – you won’t find it • AU/VST, 32-/64-bit
www.eareckon.com
anywhere else! The Hit control dulls
or brightens attack, while the Body AudioThing ValveFilter CM
knob does the same for the sound’s • Gorgeous filtering and drive
• Low-pass filter circuit emulation
• Vintage valve saturation section
sustain stage. Try Snap on anything • Based on Valve Filter VF-1
• Settings randomiser and metering
to see if you can make it pop! Vengeance Sound Philta CM
• AU/VST, 32-/64-bit
www.audiothing.net
www.sknote.it • Dual high- and low-pass filters
• Four slope settings: 12/24/48/96dB
• Resonance and width controls
• Link function and notch mode
• Based on Vengeance’s Philta XL
• AU/VST, 32-/64-bit
www.vengeance-sound.com

110 / Computer musiC / December 2016

 plugins / dvd/download <

DYNAMICS MULTI
EFFECTS

D16 Group Frontier

Unfiltered Audio G8 CM • Superb mixing/mastering limiter
Toneboosters Barricade CM • Get tight dynamics or creative effects • Choose detection and release styles
• Intelligent mastering-grade limiter • Includes advanced gating controls • Soft Clip control for drive/distortion Subsonic Labs Wolfram CM
• Dynamic response controls • Real-time waveform display • AU/VST/AAX, 32-/64-bit • Pitchshifting, distortion, phase-
• Stereo options and versatile metering • Use MIDI as a trigger or output www.d16.pl shifting, panning, delay and filter
• Based on the full Barricade • AU/VST, 32-/64-bit • Flexible modulation
• AU/VST, 32-/64-bit www.unfilteredaudio.com • AU/VST, 32-/64-bit
www.toneboosters.com www.subsoniclabs.com

Ignite VST Vice One

• Talented compressor plugin
• Analogue or Digital response circuits
HoRNet Fat-FET • In/out and Gain Reduction metering
• FET-style compressor • AU/VST, 32-/64-bit Inear Display Eurydice CM
• Similar to classic 1176LN Peak Limiter www.ignitevst.com • Buffer override/repeat, delay,
SKnote Snap • Ultra-fast attack as low as 0.02ms. bitcrusher and filter with modulation
• Boost or tame transient brightness • Based on HoRNet MultiComp • Custom signal routing
• Brighten or dull a sound’s sustain • AU/VST, 32-/64-bit • AU/VST, 32-/64-bit
• Uses two intelligently linked filters www.hornetplugins.com www.ineardisplay.com
• Not based on any existing plugin
• AU/VST, 32-/64-bit
www.sknote.it
ANALYSIS OTHER
HoRNet DrumShaper
• Instant EQ & compression for drums
eaReckon CM-COMP 87 • Dial in effect amount and in/out gain
• Slick, punchy compressor • 7 algorithms for kick, snare, loops, etc
• Mix knob for parallel compression • Based on HoRNet TrackShaper Blue Cat Audio
• Limiter to keep the output in check • AU/VST, 32-/64-bit FreqAnalyst CM
• Clear VU- and LED-style metering www.hornetplugins.com • Pro-quality, feature-packed analyser Joey Sturgis Tones & Boz
• AU/VST, 32-/64-bit • Numerous customisation options Digital Labs SideWidener
www.eareckon.com • Based on Blue Cat’s full FreqAnalyst • Add stereo width to mono sounds!
• AU/VST, 32-/64-bit • Signal retains mono compatibility
• RTAS 32-bit • Goniometer for stereo visualisation
www.bluecataudio.com • 3 widening modes, plus Width & Tone
• AU/VST/AAX/RTAS, 32-/64-bit
www.joeysturgistones.com
www.bozdigitallabs.com

audioD3CK SunRuys CM
LVC-Audio Transector CM • Characterful bus compressor
• Transient tweaking and saturation • Dry/wet mix and blend controls
• Define and process envelope stages • Advanced options for serial tweakers
• Useful metering/display functions • Based on the full SunRuys plugin
• Mix control for parallel processing • AU/VST/RTAS/AAX, 32-/64-bit Photosounder Spiral CM Nyrv Agent CM
• AU/VST, 32-/64-bit audio.d3ck.net • Musical, note-based spectral analysis • Create custom effects chains
www.lvcaudio.com • Useful for figuring out notes in audio • Host your VST/AU plugins
• Based on the full Spiral plugin • Design your own interface
• AU/VST/AAX, 32-/64-bit • Based on the full Agent plugin
www.photosounder.com • AU/VST/AAX, 32-/64-bit
www.nyrvsystems.com

Audiority TS-1 CM Toneboosters Sibalance CM

• Flavoursome transient shaper • Pro-quality de-esser and de-harsher
• Set attack and sustain gain separately • Four modes for different use cases Dotec-Audio DeeMonitor
• Blend control for parallel processing • Select reduction and Attack amounts Vengeance-Sound Scope • Emulate NS10, Genelec and
• Based on the full TS-1 plugin • Based on the full TB Sibalance plugin • Spectrum view for frequency analysis Auratone 5C speakers in your DAW
• AU/VST, 32-/64-bit • AU/VST, 32-/64-bit • Oscilloscope for waveform monitoring • Invert and Solo left and right feeds
www.audiority.com www.toneboosters.com • Stereo phase and level metering • Mid/Side balancing + Output gain
• Tons of advanced analysis options • AU/VST, 32-/64-bit
• AU/VST/AAX, 32-/64-bit www.dotec-audio.com
www.vengeance-sound.com

December 2016 / Computer musiC / 111

> dvd/download / plugins

plugINS guIDE

EFFECTS
download
GAs well as on the DVD, you’ll
find all these plugins at

Continued
vvault.computermusic.co.uk

DISTORTION/ SATURATION DELAY/

REVERB

Cableguys Waveshaper CM Audio Assault

• Graphically editable distortion curves Audio Assault BassAmp CM
• Design curves by dragging nodes GrindMachine CM
• Syncable input vs output oscilloscope
• Inspired by Ampeg bass gear LiquidSonics Reverberate CM
• Five amp and ten cab emulations • Gain and Deep controls for added drive • Convolution reverb
• Not based on an existing plugin
• Three-band EQ plus depth and presence • Three-band EQ plus Mix blend • A selection of real-world presets
• AU/VST, 32-/64-bit
• Djentbox for tightening low tunings • Choice of two cabinets • Import your own impulse response
www.cableguys.de
• Based on the full GrindMachine • Not based on any existing plugin • Based on the full Reverberate plugin
• AU/VST, 32-/64-bit • AU/VST, 32-/64-bit • AU/VST, 32-/64-bit
www.audioassault.com www.audioassault.com www.liquidsonics.com

Audiffex STA Enhancer CM

• New for v1.5: CPU optimised, tube
mode soft switch, new interface
• Valve-style signal exciter/enhancer HoRNet Graffio CM
• Separate low/high enhancement
• Choose from five tube circuitry modes • Flexible three-flavour distortion effect Acon Digital CM Verb
• AU/VST, 32-/64-bit • Saturator module with DC offset control • Simple-but-versatile operation
www.audiffex.com • Exciter with odd/even harmonics dials • Five modes: hall, plate, studio, etc
Sonimus Satson CM • Bit reducer to degrade your sounds • Built-in high- and low-pass filters
• Classic mixer channel emulation • Based on the multiband Graffio plugin • Based on Acon Digital’s Verberate
• Subtle warming saturation • AU/VST/VST3/AAX/RTAS, 32-/64-bit • AU/VST, 32-/64-bit
• Gentle, musical high/low filters www.hornetplugins.com www.acondigital.com
• AU/VST, 32-/64-bit
dsp.sonimus.com

Kuassa PreMix CM
• Subtle saturation to screaming drive
• Three-band Baxandall sweetening EQ
• A/B comparison function
PSP Audioware cmDelay
• Not based on an existing plugin • Modulatable delay with LFO
• AU/VST, 32-/64-bit • Dial in delay time, filtering and width
www.kuassa.com • Feedback and ping-pong operation
• Based on the commercial stompDelay
• AU/VST/AAX/RTAS, 32-/64-bit
Rop Papen RP-Distort CM www.pspaudioware.com
• Five crunchy distortion algorithms
• EQ, dynamics, widener + modulation
• Filter and parallel processing controls
• AU/VST, 32-/64-bit
www.robpapen.com

Lindell Plugins 6X-500 CM

• Classic preamp emulation with EQ
• High and low boosts for musical tone Tek’it Audio CrossDr CM
• Modelled on Lindell’s 6X-500
hardware preamp/EQ • Three independent bands of drive
• Based on the full 6X-500 and • Drive, Warp, Crush and Clip signals
ChannelX plugin • Per-band Balance and Level
• AU/VST, 32-/64-bit • AU/VST, 32-/64-bit
www.lindellplugins.com www.tekit-audio.com

112 / Computer musiC / December 2016

 plugins / dvd/download <

loading plugins in your daw

Though there are a wide variety of DAWs, each
with its own unique interface, there are
similarities when it comes to loading up and
using plugins, and most stick to one of two
approaches. The first – as seen in Steinberg’s
Cubase, Apple’s Logic, and Cakewalk’s Sonar –
involves insert slots on a track or mixer channel.
These are used in the same way as an insert
effect would be used on a hardware mixer. In
other words, the effect is placed ‘in line’ on that
mixer or track channel. Plugins might be loaded
in by use of a dropdown menu tree or right-
clicking in the effects slot. Clicking in the insert
or effects slot in some DAWs – Cockos’ Reaper,
for instance – will reveal a dedicated browser
from which the desired plugin may be selected.
It’s common to stack multiple effects plugins
together to form an effects ‘chain’, much in the
way a guitarist might connect various
stompboxes together to form a custom sound.
In some DAWs, these effects chains may be
See how to load plugins in eight different DAWs with our videos at the URLs below
saved and recalled at a later time.
If your DAW uses a sidebar browser, here you
can find your plugins displayed and possibly dropped from a browser onto a specific track. We’ve prepared videos for eight major DAWs
arranged into categories. The plugins may be However, many DAWs distinguish between showing you the basics of loading plugins, along
dragged into the project and placed directly instrument and audio tracks, so you’ll need to with a few handy tips you won’t want to miss:
onto a track or channel. Ableton Live, Bitwig keep this in mind. Those that allow you to drag > Cockos Reaper – bit.ly/LPIreaper
Studio, Cakewalk’s Sonar and PreSonus Studio instruments in from a browser might offer the > Cakewalk Sonar – bit.ly/LPIsonar
One can all open effects and even instrument choice of using an existing instrument track or > PreSonus Studio One – bit.ly/LPIstudioone
plugins in this manner. creating a new one. Some DAWs (Cubase, Sonar) > Apple Logic – bit.ly/LPIlogic
On the subject of instrument plugins, we allow you to open instruments in a ‘rack’ and > Image-Line FL Studio – bit.ly/LPIflstudio
should discuss the different methods you might then connect to them from MIDI or instrument > Steinberg Cubase – bit.ly/LPIcubase
encounter when loading up instruments. As tracks. Others (Logic) make a plugin menu > Bitwig Studio – bit.ly/LPIbitwig
mentioned, sometimes they can be dragged and available from the track itself. > Ableton Live – bit.ly/LPIableton

Plugin folder locations

So how does your DAW know where to look for Uninstalling plugins from OS X usually
your plugins? Actually, it might not. Mac users requires little more than putting the Component
have it easy, as there are OS-specified folders or VST file in the Trash. Sometimes an
into which plugins are installed. These folders uninstaller will be offered, though.
can be found by going to your Library folder (if On Windows, you can choose the location of
you can’t find it, go to the Finder’s Go menu, your VST plugins folders. Some DAWs will create
hold Alt, and a Library option should appear). one when you install them, but both DAW and
find the Audio directory, and then the Plug-Ins plugin installers will often give you an option of
folder within. There you will find more folders pointing to the plugin directory you’d like to
still. One will be labelled Components – this is use. It usually looks something like C:\Program
where your AU plugins reside. Other folders will Files\Steinberg\VST Plugins.
be found alongside it for VST and VST3 plugins. If you’re using Apple’s OS X, all your VST, VST3 and Some plugins are delivered as only DLL files,
If you’re a Pro Tools user, you’ll find your plugins Audio Units go into pre-determined locations and need to be copied to your chosen directory.
in an Avid or Digidesign folder. If your installers Once you’ve installed your plugins, think twice
don’t automatically install the plugins into the One is for all users, the other is for administrator about moving them. Some plugins rely on
proper folder, you should manually copy them use. If your DAW has trouble seeing a plugin, support files installed into the same directory.
into the relevant folders listed above. you might need to move it from one Library to To duplicate plugins elsewhere on the drive, use
One caveat: there will likely be two sets of the other, though the system folder is usually shortcuts on Windows (right-click to create one)
folders under two different Library locations. the one to use. or aliases on Macs (Cmd-Alt-dragging).

December 2016 / Computer musiC / 113

> make music now / blast from the past

blast
Decades before Reaktor, Max and SynthEdit,
from
the past
the developer behind Pro Tools created a
cutting-edge software modular synthesiser

Digidesign Turbosynth
Though Digidesign is no more (having certain graphics applications, with tools
been swallowed up by Avid), the name is (modules) selected along the left and placed
tech SPecS
still synonymous with hard disk recording into the main workspace. Year of manufacture
1988
thanks to the industry-wide saturation of its There were fifteen synthesis module types,
Original sale value
flagship product Pro Tools. Yet Digidesign’s including oscillator, sample, noise, waveshaper, $349 (Atari version)
beginnings were somewhat humbler, starting filter, timestretching, delay, pitchshifter, diffuser, Current price
life as Digidrums in 1984. The brainchild of resonator, mixer, modulator, and multi-segment N/A
Peter Gotcher and Evan Brooks, the company’s pitch, filter and amplitude envelope generators. Number made
first products were custom sound chips for Thanks to synths like Absynth and Alchemy, unknown
popular drum machines, followed up by Sound we take multi-segment envelope generators for
Designer, an early sample editor for granted today, but they were a radical departure
Macintosh that could be used to finesse audio from the usual ADSR jobs when Turbosynth hit hardware samplers via an excruciatingly slow
files for hardware samplers such as those the shelves. One trick was to string waveforms MIDI Sample Dump or, if you were lucky, SCSI.
from E-mu, Ensoniq and Sequential Circuits. together into a sort of wavetable and then wrap The latter was much faster, allowing the user to
Sound Designer was a success, and it begat a complex, rhythmic amplitude envelope audition the sound on the connected sampler
the first ‘standard’ file format for samples. Yet around it for shifting, pulsating loops. almost immediately. Later versions supported
the Digies had something even more interesting While fifteen synthesis modules may not Digidesign’s own SampleCell DSP hardware, as
up their sleeves: a fully modular sound design seem like a lot, each module included its own well as now-familiar formats such as AIFF.
environment wherein various components unique collection of tools. The oscillator, for Turbosynth never got the notice it deserved,
could be mixed, matched, and patched together example, provided a number of preset waves to though it did pique the interest of industrial
by virtual cables. Dubbed Turbosynth, it too ran choose from, and the ability to roll your own. musicians, most famously Nine Inch Nails. Those
on the Mac, though it would subsequently be Due to the limited technology of its day, who did have a play were rewarded with
ported to Atari as well. working in Turbosynth was a strictly offline uniquely and unashamedly digital tones rich in a
Today’s modular synthesist would have no affair, but the sound in progress could be gritty character, courtesy of the now-primitive
trouble navigating the Turbosynth GUI, as it auditioned via the Mac’s built-in audio hardware. algorithms. It’s surprisingly difficult to replicate
bears a striking resemblance to a modern Once you’d cobbled together something you its sound in the modern era – current software
modular system such as Reaktor, as well as liked, it could be ported to a number of supported modulars simply sound too damned good!

Three modern-day descendants

99
69

97
$2

$3
£1

Native iNstrumeNts reaktor symboliC souNd kyma CyCliNg ’74 max

The reigning king of graphical software Craig Anderton once described Kyma as Cycling ’74’s now-classic software modular
modular programming environments, “Turbosynth falling into the hands of a race of environment takes the idea to, well, the max,
Reaktor is a native program that allows pre- super-intelligent alien beings”, though the providing countless tools that can be mixed,
fab modules to be lashed together via virtual earliest version of Kyma actually predates matched, and patched into your own custom
cables. Reaktor offers exponentially more Turbosynth. It bears a superficial resemblance, synths, audio effects, even graphics. Max
modules and access to low-level operations but with many times the tools. Kyma is provides hooks into external hardware like
that the boys of Digidesign could only dream probably the closest we can get to what MIDI controllers, lighting, projectors, and VJ
about. There’s not a lot Reaktor can’t do. Turbosynth would have become today. rigs too. Awesomely powerful.
www.native-instruments.com kyma.symbolicsound.com cycling74.com

114 / Computer musiC / December 2016

9000
9012