FREE 50

! !
EW EW
N N

DOWNLOAD PLUGINS
15GB
of SofTWARE,
TUToRIALS, VIDEo,
SAMPLES + MoRE! AGENT CM PLUGIN 886 sAmPLEs VST/AU MAC/PC

PLUS

100
TUToRIALS
oN HoW To
USE THEM
£6.25 / Autumn 2015 / CM222

MODERN

How to use today’s top techniques for massive mix dynamics

Parallel custoM d.i.Y. Master bus Pro features
Processing dYnaMics coMPression exPlained

INTERVIEWED HOW TO UsE YOUR FREE PLUGIN

BINGO AGENT CM
PLAYERS Create Custom effeCts Chains
HOST YOUR VST/AU plUginS
The Dutch
house master Design your own interfaCe
talks tech SAVE And RECAll EnTiRE SETUpS

4+
HOURS
of ALL-NEW HoW To USE PRoDUCER MASTERCLASS TUToRIAL
VIDEoS
INCLUDING… TURNADO WILL CLARKE SYNTH fx
Master this mad multieffect Booty house how-to session Stand-out processing tricks
 intro / computer music <

DoWnLoaD
See page 5 to find out how
HOW TO USE to download this issue’s
exclusive content
Wherever you see this icon, there’s

welcome
downloadable content such as videos,
software, samples and tutorial files. See
download the Contents on the next page to find out
how to access our Vault download area.

Tutorials featuring this icon make

use of our own Plugins – find
out all about them on p16.
As a producer, you’ll no doubt have combinations of
This icon means there are extra files effects that you turn to again and again, whether they’re
TuTorial to help you follow a tutorial feature: for specific sounds or effects, or just as a starting point
FileS project files, audio examples, etc.
for general mixing duties. And with over 30 effects in the
Plugins collection included free with this very
There’s extra video content
wherever you see this icon. magazine, you’re never going to be short of options.
What would be
VIDEO

2 MINUTES
WITH…
See and hear the latest software in
action! Get the video on the Vault, or
youtube.com/computermusicmag
“There’s a great, though,
would be one
plugin to bring all
nice surprise this processing
power together.

waiting for Pro

WWW Well, that’s exactly
www.computermusic.co.uk
what you get
[email protected] this month with

www.facebook.com/computer.music.mag Tools users” Agent CM!

Our latest
www.twitter.com/computermusicuk
amazing
Plugin allows you to host your VST/AU plugins – including
www.youtube.com/computermusicmag third-party ones, not just our ones – and design a
custom interface for their key parameters. How cool is
that? If you’re stuck for ideas for plugin chains, then our
Modern Compression (p38) and Synth FX (p61) features
should provide ample inspiration.
There’s a nice surprise waiting for Pro
Tools users too, for just as we went to
press, NYRV Systems delivered an AAX
version of Agent CM. So, Pro Tools
users can now use our VST/AU plugins
Subscribe to
Computer Music!
by loading them via Agent CM. Bonus!
Finally, time is running out to enter our
See p34 amazing competition to win £14,000 of
awesome studio gear – that’s over on
Where to get p36. Feast your eyes on that lot, and…
PRINT ZINIO Enjoy thE issuE
in stores and online for PC, Mac, Android, iPad & more
www.myfavouritemagazines.com www.zinio.com

NeWSSTANd GOOGle PlAY

for iPad, iPhone & iPod touch
www.computermusic.co.uk/cmdigital
for Android & Chrome for PC/Mac
play.google.com Lee du-Caine Editor
Issue 222 AUTUMN 2015

contents WIN!
A COMPLETE
STUDIO SETUP
See page 36
for details

Cover Producer
feature masterclass

MODERN
57 wIll clarke
Find out first-hand how he
Get the weight, control and crafts his stripped-back tunes
in this huge in-studio video
dynamic power of today’s
top mixes – we give you the
know-how, starting from p38 Tutorial

61 synTH fx
Get bigger, better synth
sounds with this masterclass on
processing them to maximum effect

/experts Tutorial

69 HOw TO
use TurnadO
Whip up a sonic fuss with Sugar
Bytes’ modular multieffects machine
76 easy guide: 78 designer sounds:
tritone substitution eerie voCal pads

Interview

84 bIngO players
Maarten Hoogstraten isn’t one to
80 geeK teCHniQue: 82 dr beat: quit while he’s ahead. We find out
tHe trutH about filters tHe snare drum why the Players keep on playing

4 / cOmpuTer musIc / Autumn 2015

DownloaD
This issue’s exclusive
Step 1
On your PC or Mac, go to
vault.computermusic.co.uk,
Step 2
Click ‘add a magazine’ in the
top bar, select the issue you
Step 3
Go to ‘my vault’ to see all your
mags – click a cover and use

free content from then either register for a

new Vault account, or log in
want to add to your Vault (eg,
this issue is 222), and answer a
the links to download! You can
download as much or as little
Computer Music if you already have one. few simple security questions. as you like.

In THe vaulT
THIs Issue

agent cm
Host multiple VST/AU effects and create your
own interface with this awesome plugin, p10

samples
886 sounds that’ll take your
Reviews tracks on a nostalgic
journey through FX history.
92 softube Heartbeat Find out what’s inside, p14

94 arturia beatstep pro

96 renoise redux Tutorial videos
High-quality videos to guide you through
98 uvi relayer our tutorials. Wherever you see the icon
102 novation launCHpad pro on the left, there’s a video version to watch
See this issue’s entire video content on the next pages
plus 22 mOre prOducTs revIewed

Essentials
24 news
30 wHat’s on your drive? Tutorial files CM Plugins
33 burning Question A folder full of audio examples, Our exclusive collection of
34 subsCribe synth patches and project files free plugins for Mac and PC.
to help you follow our tutorials See what’s available on p16
53 next issue
114 blast from tHe past:
66 baCK issues yamaHa Cs-80 This digital content has been thoroughly scanned and tested at all stages of production, but as with all new software, we still recommend that you run a virus checker
before use. We also recommend that you have an up-to-date backup of your hard drive before using the content. Future cannot accept responsibility for any disruption,
damage and/or loss to your data or computer system that may occur while using this magazine’s programs and/or data. Consult your network administrator before
installing any software on a networked computer. If you have problems using our Vault download system, please contact [email protected].

* Please note that the Producer Masterclass video is not available as a download. From 221 onwards, this video is available via a streaming link.

Autumn 2015 / cOmpuTer musIc / 5

 PLUS!

100
video
Download this month’s videos onto your
bonus videos
in the Plugins
Tutorial Bank
See p16 for info

PC or Mac at vault.computermusic.co.uk

MODERN
1 Analysing how different 2 Analysing
compressors respond compressor distortion

We show you today’s advanced compression

techniques, up close and personal
3 Serial compression 4 Adding body & weight
Read the full article on p38 in use with parallel compression

5 Reverse parallel 6 Multiband compression 7 Controlling mix elements 8 Mixing into the
compression for controlling mixed material with mid/side compression bus compressor

9 Multiband compression 10 Modelled compressors 11 Working with loudness 12 Mix bus sidechaining
on the master bus for analogue enhancement maximisers and limiters

Advanced feature tips

Learn your compressor’s more esoteric controls

13 DIY custom compression Using sidechain Soft vs hard Peak vs RMS Using the
with sidechain processing EQ or filtering knee compression detection Range control

6 / ComputeR musiC / Autumn 2015

 video ProdUcer MaSTercLaSS*

nYRv AGent Cm
Host up to eight VST/AU effects in this ace custom
control surface plugin – yours for free with this issue

Read the full article on p10

sYntH FX
Process your synths Read the full
to perfection article on p61

2
assist precision EQing
1 Shaping simple sine 2 Spicing up synths
waves with distortion with parallel distortion

3 Adding stereo 4 Emulating synthesis

width to mono synths with effects plugins

WiLL CLARKe
See him deconstruct his track 808
Frenzy in this huge in-studio tutorial
5 Trance-gating a pad 6 Glitching up synth parts
with a MIDI-triggered gate with buffer-mangling Read the full article on p57

* Please note that the Producer Masterclass video is not available as a download via our Vault.
See page 57 for viewing instructions, or watch on Apple Newsstand via built-in internet streaming. Autumn 2015 / ComputeR musiC / 7
 video
Grab this issue’s videos via Vault download – see p5 for details
HoW to use
tuRnAdo
We take you on a tour of
Sugar Bytes’ magnificent
multieffects plugin

Read the full 1 Setting up Turnado in 2 The Settings panel 3 Loading effects
article on p69 Ableton Live and Logic Pro X modules and presets

4 MIDI control and 5 Customising effects in

the dictator the Edit Page

6 Working with 7 A tour of

the Modulators Turnado’s effects

/experts
EASY GUIDE DESIGnER SoUnDS GEEK TECHnIQUE DR BEAT
tRitone eeRie tHe tRutH tHe
substitution voCAL pAds About FiLteRs snARe dRum
Strike a different chord We’re cooking up a There’s something not Learn the styles,
in your tunes with this haunting pad sound quite right… have you articulations and
jazz technique from a vocal sample ever noticed it before? when to use them

Read the full Readthe

Read thefull
full Read the full Readthe
Read thefull
full
article on p76 article on p78
article on pxx article on p80 article on p82
article on pxx

8 / ComputeR musiC / Autumn 2015

 > download / agent cm

>Exclusive full software

NYRV Systems
Agent CM
downloAd
Get the plugin, the video and
the Tutorial Files on PC/Mac at
vault.computermusic.co.uk

Unify your favourite plugin combinations inside one interface

with this customisable, format-bending effects rack plugin
Agent CM from NYRV Systems up to eight VST or AU (Mac only) knobs, buttons or three-position plugins, features 96 configurable
is unlike any software giveaway plugins can be loaded inside two switches, then map out parameter controls spread over two pages,
we’ve brought you before, offering separate strips (four in each), values, ranges, colours and more. the ability to load eight plugins per
a new way to work with your VST allowing you to create bespoke The in/out gain, pan and wet/dry page (as opposed to Agent CM’s
and AU plugins. With this powerful channel strips and effect chains for amount for each device slot can four), an additional routing page,
PC/Mac plugin, you can package either studio or live use. Agent CM also be controlled in your custom AAX and RTAS support for Pro
up your favourite third-party can also be used as a powerful Agent interface. Three preset skins Tools users, DAW-independent
effects combinations, design a ‘bridge’ between plugin platforms: come as standard, but you can get MIDI learn, plus slot meters on the
personalised interface to control use AU plugins in VST-capable under the hood even further and live page. Plus, it usually costs
them, and load these custom strips hosts, and even run VST plugins in use your own skins and graphics to $249, but readers can buy it for
any time you need them, in any AU-only hosts such as Logic. design your ideal interface. $99 using the code CM2015-99.
VST- or AU-compatible DAW. After stacking up your custom Once you’ve had a taste of NYRV also offer a bundle of 10
Agent CM comes in VST, VST3 chain of effects, you can configure Agent CM’s plugin-stackin’ power, Agent-exclusive audio devices.
and AU formats. Once called up as your own recallable settings and be sure to try out its bigger Find out the full details at
a regular insert effect in your DAW, interface design. Choose from brother, Agent. It can load up to 16 www.nyrvsystems.com.

PREFERENCES CONFIG/LIVE TABS PRESETS

Enable the Plugin Switch between Agent CM’s Save and load presets BYPASS
Scanner via this menu two main views and banks here Turn off Agent
CM’s processing
with this button

SLOTS AND
COMPONENTS
Click to change
between Slots
and Components

PLUGIN
CHANNEL BROWSER
STRIP/EFFECTS Browse your
RACK BAR scanned VST,
Click to switch VST3 and/or AU
between the plugins - drag
two chains them from here to
the top-left slots

PLUGIN SLOTS SELECTION WINDOW CONTROLS CONTROL GRID

Add up to four for the Drag the currently-selected Access the controls of Drag in parameters, graphics,
Channel Strip, and up to plugin’s parameters onto the loaded plugins, and boxes here - this configuration
four for the Effects Rack Control Grid custom their layout will appear over in the Live view

10 / CoMputer MusiC / Autumn 2015

 agent cm / download <

> Step by step Installing and using NYRV Systems Agent CM

TuTorial
Files

1 2 3
Head to vault.computermusic.co.uk, To illustrate Agent CM’s immense Agent CM can load third-party VST,
register this issue ( 222) to modular-style capabilities, we’re VST3 and AU effects plugins on Mac,
download the plugin, then extract the going to build a custom multieffect or VST and VST3 on PC. To do this, it needs
ZIP file to access both the PC and Mac channel strip. Open up a new project in to scan your plugin folders with its Plugin
installers. Agent CM comes in VST, any VST/AU-compatible DAW – we’re using Scanner. Hit the spanner icon to open the
VST3, AU, and AAX formats for PC and Cubase Pro 8 – then load the audio file (a Preferences window. Press Launch Plugin
Mac, in both 32- and 64-bit versions. simple pad) from the Tutorial Files folder Scanner, select the formats to scan, hit
Simply run the installer and follow the onto an audio track. Agent CM is an insert the + button and add your plugin folders
basic installation procedure. effect, so load an instance on the track. to the list, then press the Scan button. You
may have to run the scan a few times,
depending on your plugins.

4 5 6
Agent CM consists of two main On the left of the Config page are the To load a plugin in a slot, open the far-
sections, toggled between using the Slots and Components sections, right Plugin Browser, and either drag a
top tabs. The Live page is the front end of switched between by clicking the relevant device in from the list or right-click on a
your custom rack, housing your custom header. The Slots area is divided into two slot and choose from the menu. We’ll open
parameters and interface components. sections: Channel Strip and Effects Rack. Philta CM in the Channel Strip’s slot 1, and
The Config page is where we initially set These are two independent chains, each Wolfram CM in slot 2. If you don’t have
up our plugin configuration behind the allowing you to load up to four effects these two plugins, see page 16 for how to
scenes, so head there first. plugins in series – that’s two chains of four get them on your PC or Mac. But
effects, making eight slots in total. remember, Agent CM can load any
compatible VST, VST3 or AU effect plugin –
including third-party devices.

7 8 9
You can always right-click a loaded The bottom-left Selection Window Wolfram CM’s Manipulator 1 Activate
plugin and select Remove Plugin to displays the selected plugin’s parameter is an on/off toggle switch,
remove it. As you’d expect, the signal flow parameters. Drag them onto slots in the so we’ll use one of Agent CM’s button
runs down the strip from slot 1 to 4. To main centre Control Grid to start filling graphics as its switch. Either head to the
rearrange the effects, drag one onto the interface with controls that’ll appear in Components section and scroll through
another to swap them. We drag Wolfram the Live view. Drag Wolfram CM’s the Buttons and Knobs menu, or right-
CM onto Philta CM to reorder them, Manipulator 1 Pitch, Manipulator 1 Dist click a parameter’s cell and use the popup
placing Wolfram CM first. Load another and Manipulator 1 Activate parameters menu to Set Type. A three-way switch is
instance of Wolfram CM in slot 3, then load onto three cells in the grid, and a rotary also available.
the Delay » CM Nasal Sweeps preset. knob will appear for each.

Autumn 2015 / CoMputer MusiC / 11

> download / agent cm

> Step by step Installing and using NYRV Systems Agent CM (continued)

10 11 12
The first Wolfram CM’s Pitch effect is Time to add more hands-on control to Colour-coding the knobs will allow us
bypassed at its minimum value, but our custom device. Navigate back to to better organise our custom
we can eliminate that value from the the Slots menu, then drag a suitable interface. Right-click on a cell and use the
knob’s range. Select that cell, and open the performance parameter onto the Control Set Colour menu to choose a colour for
blue Control Settings menu found at Grid. We’ve called up Philta CM’s HighPass each knob – we’ve chosen blue for the first
Agent CM’s top, where we can define Freq and HighPass Res, plus the second Wolfram CM’s parameters, yellow for
minimum and maximum ranges. In the Wolfram CM’s Delay Mix, Time and Philta CM controls and orange for delay
Behaviours » From box, change the value Feedback. You can also right-click on a knobs. This right-click menu also houses
from 0 to 1; turning the knob fully left no cell, select Listen for parameter change, further useful options to alter the rotary
longer deactivates the effect – we created then move a parameter to assign it, and dragging mode, default parameter config
a dedicated button for that, remember? right-click a cell to remove controls. saving and more.

13 14 15
We can also label each parameter Internal Agent CM parameters can be We’ve only been using the Channel
more succinctly. Select a cell, open the added onto the Control Grid via the Strip section, and there’s room for four
Control Settings dropdown, then type in Slots » Agent Parameters menu. Here more effects in the Effects Rack section.
your desired parameter name in the you can choose overall Input and Output The two chains may be named ‘channel
Behaviours » Label section for it to Level, Pan, plus Gain and Mix for slots 1-4 strip’ and ‘effects rack’, but it’s up to you
appear under that knob. You can also use of the Channel Strip and slots 1-4 of the how you use them. Open the Slots tab,
the Control Settings menu to customise Effects Rack section. We’ll drag Output click the Channel Strip header to switch
labels, display values and visual settings: Gain to a cell over on the top-right area of over to the Effects Rack slots, then insert
activate or deactivate a rotary’s tick marks the Control Grid; right-click and use the effects of your choosing. We’ve opted for a
or lines, or numerical values (which are Set Colour menu to colour it red. simple ‘mixing’ chain, with SunRuys CM
entered in the Display Value section). and Barricade CM.

16 17 18
As before, assign several of SunRuys Click the top tab and head over to the Have fun tweaking the controls to
CM and Barricade CM’s parameters to Live page, where we can get hands-on pitch, distort, and filter the pad before
rotaries on the interface. We’ll set up with our custom multieffect. Flip between mixing in some delay. To finish, we’ll save
compression Threshold and Ratio the Channel Strip and Effects Rack chains our custom device as a preset that we can
amounts, as well as the limiter’s Out over on the top left – the Enable column call up in any DAW. Simply hit the floppy
Ceiling. We can also pimp up this custom allows us to turn each effect on or off, disc icon at the top, navigate to Global
interface further using options found in while the Launch column opens up plugin Presets » Save As. Saved presets appear
the Components menu: custom themes, GUIs. The top All button will apply that in the top dropdown menu. We’ve
labels and graphical elements are simply particular function to all the devices in included our preset file in the Tutorial
dragged onto the interface. that chain. Files for you to load up.

12 / CoMputer MusiC / Autumn 2015

> download / samples

Exclusive samples
FX TimeTrip download
Download the samples
onto your PC/Mac at
vault.computermusic.co.uk

Roll up, roll up! Take a tour of FX through the ages

with this month’s exclusive free sound effects pack

Like ’em or love ’em, sound effects – or varied as the technologies that have been used
886 EXCLUSIVE SAMPLES FX – play a vital role in all sorts of media, to make them.
whether they’re used to make things sound So just for that reason, we’ve raided the
70 90s-style timestretches real or unreal, down to earth or out of this trust fund and used what was left to build our
59 oscillator FX world. What’s a laser gun without its zap? Museum of Cult FX! This sample pack will take
Where would an 8-bit video game be without you on a journey through zaps, blaps, stutters
12 ‘radio’ stings an inexplicable whoop every time you hit the and booms, harking back to every era of sound
103 videogame FX jump button? What’s the point of an action design – each more golden than the last.
33 bass and synth drops movie if nothing blows up in a blaze of full- This royalty-free sample collection has been
frequency sonic glory? made especially for you by Oli Bell of Groove
36 glitches
Back in the 50s, we got our jollies on with Criminals in their lab full of highly prized sound-
51 impacts single-oscillator tones printed to tape; the 60s producin’ gear. Now here’s the man himself
25 reverse samples brought us further electronic delights such as to talk you through this treasure trove of
26 risers ring mod, tape flange, and guitar pedals such as incidental goodness…
wah effects. How about the 80s, when glitching
37 spring twangs videogame villains scared the 8-bit bejesus out Springs and oscillators
111 vintage synth FX of us all? Or the cinematic sonic climaxes of “We made all the twanging sounds of the Spring
today’s big-budget moveis and games that can Reverb FX with only vintage hardware: a D&R
reduce even hardened gamesters to a Stereo Reverb unit, a Bandive Great British
shellshocked, weeping mess. Yep, these Spring reverb, and an Atlantex Rooverb. To get
incidental sounds have a history as rich and the raw twang of the Rooverb, we opened it up
and flicked, stroked and whacked the springs
within. In the pack, you can find them in both
raw versions and processed through a
Moogerfooger MF-101 Lowpass Filter and
MF-104M Analog Delay.
“The Basic Oscillator FX were created
using the most rudimentary single-oscillator
analogue synths we could find: a Korg
monotron, a Gakken SX-150, and a Yamaha
CS05. We also did some very simple patching
in the eurorack modular with just an oscillator
being modulated by an LFO – no filter, no
amplitude modulation.”

Percussive and game FX

“Ring modulation was a mainstay of FX, right
from the early tinkerings by the pioneers of the
BBC Radiophonic Workshop, through to more
advanced prog rock signal-shaping magic, right
the way to today’s digital dabbling. For the
Ring Mod FX, we turned once again to our stock
of Moogerfooger pedals, grabbing the MF-102
Ring Modulator and whipping some guitar and
MiniBrute signals into a crazy spin. We liked the
sounds so much that we couldn’t resist adding
some more unusual ring mod FX, created using
our Eurorack modular synth.
“The Percussion FX came from the Synare 3
and Amdek percussion synths – both totally
analogue. An 80s Peavey reverb unit provided
the gated reverbs, and the dub hits were again
soaked in tape delay (from the Roland Space
Echo and Watkins Copicat) and spring reverb.

14 / CompuTer musiC / Autumn 2015

 samples / download <

Retro noise sweeps

come courtesy of
the Juno-60

The classic computer

FX were made with
timepiece game gear

There’s synth sounds from Oli’s Korg monotron (top), plus

basic oscillator sounds from the Gakken SX-150 (middle),
and plenty of delay from the WEM Copicat (bottom)

“The Classic Computer FX samples are an

extra-special treat, covering the early days of
“The Dub Siren samples were made using a
combination of the handmade simple Synthbox Selected
8-bit FX sounds. They were made using an
Amiga 500, a GameBoy (running a nanoloop
and the ever-faithful Korg monotron. Again,
these were left very simple and processed
kit list
cart), a Sega Mega Drive, and various simple through the same delay chain, then squeezed
synth patches on the Eurorack modular. These through some twangy spring reverbs. D&R Stereo Reverb Mk2
Bandive Great British Spring
sounds really capture the bleepy, 8-bit sound of “With the Radiophonic Workshop-style FX,
Atlantex Rooverb
early computer game FX, so be careful if you’re we tried to stay as faithful as we could to their Moogerfooger pedals
prone to flashbacks of your days spent fighting lo-fi approach, so we used filtered tape delay Korg monotron
a giant pixellated octopus.” feedback and odd sounds from the spring Gakken SX-150
reverbs. We also used some very basic patches Yamaha CS01
Noise, dubs & Radiophonics from the modular using just an oscillator and Arturia MiniBrute
Synare 3
“We also got to work on some characterful LFO, as well as an occasional multi-mode filter.” Amdek PCK-100
Noise Sweeps that’ll add a retro tone to many Beep furiously at Oli in 140 characters Roland Space Echo
a track. We got these from a Roland Juno-60 or less via the modern medium of Twitter: Watkins Copicat
and SH-101, and tried to keep them strictly @GrooveCriminals. Amiga 500
old-school by just sweeping the filters and Nintendo GameBoy
Sega Mega Drive
modulating them with an LFO. Oh, and the Grab these exclusive samples on your PC/Mac
Roland Juno-60
Juno-60, SH-101, SH-09 and Yamaha CS-5 were at vault.computermusic.co.uk – see page 5 Roland SH-101
also all used to create some classic synth for more on how to download this and the rest Yamaha CS-5
burbles and bleeps. of this issue’s videos, files and software. Synthbox (DIY)

Autumn 2015 / CompuTer musiC / 15

> download / plugins

plugINS guIDE

INSTRUMENTS download
GGet all of these effects on
your PC or Mac right now at
vvault.computermusic.co.uk

Our exclusive collection HYBRID SYNTHS

of instruments and v2.5

effects is included
update

with every issue of Cableguys Curve 2.5 CM

• NEW filter modes + more for v2.5! KV331 Audio SynthMaster CM
Computer Music – it’s • Design-your-own waveforms synth
• Phat 16-voice Unison mode
• Based on Cableguys Curve 2.5
• Dual wavescanning oscillators
• Multimode filter and built-in effects
• Customisable waveshaping distortion

got all you need to • AU/VST/RTAS, 32-/64-bit

www.cableguys.de
• FM/AM synthesis modes
• Extensive modulation capabilities
• Based on SynthMaster 2.5

make great music now!

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

The Plugins collection is a suite of complete, limitation-free

instrument and effects plugins. It’s an incredible resource, boasting
SAMPLERS
more than 50 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
created exclusively for us by respected commercial developers such as • VA and wavetable oscillators
• Powerful per-voice modulation
Ohm Force, KV331 Audio, u-he, Cableguys, AudioThing, XILS-lab, • 12-slot modulation matrix
Vengeance-Sound, Rob Papen and zplane. • Based on the full version of Dune
• AU/VST, 32-/64-bit
www.synapse-audio.com

Expert Sleepers
frequently asked questions XFadeLooper CM
• Creative crossfade-looping sampler
• Hard sync mode • Modulation
What is Plugins? Is it just (aka DAW) to host them (ie, ‘plug • Blendable multimode filter
freeware from the internet? in’ to). You need a DAW that can • Saturation section • Flexible looping
No, and neither are the plugins host VST or AU plugins, such as • Based on Crossfade Loop Synth v3
• AU/VST, 32-/64-bit
limited or ‘crippled’. It’s a set of Ableton Live, Reaper, FL Studio u-he Zebra CM www.expert-sleepers.co.uk
virtual instruments and effects (PC), Cubase, Sonar (PC), Logic • Blendable oscillator waveforms
created by some of the best (Mac) or Garageband (Mac). • Super-programmable step LFOs
developers in the business just for • Slick delay, reverb and chorus/phaser
us – you won’t find this set of What happened to…! • Original synth designed just for CM
• 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
Loomer Cumulus
• Granular sampler
How do I install Plugins? subfolders. These plugins require • Scenes function for sequencing slices
You’ll find specific installation either a 32-bit host or a suitable • Not based on an existing plugin
instructions for each plugin ‘bit bridge’ (eg, jBridge) for use
Enzyme CM • AU/VST, 32-/64-bit
• Scanned synthesis sound generation • RTAS/Standalone 32-bit
in the How To Install file in the within a 64-bit DAW. • Straightforward preset-based setup
CM Plugins folder. www.loomer.co.uk
• 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

16 / Computer musiC / Autumn 2015

 plugins / 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.
CMU189.t_focus.indd 74

December 2012 / COMPUTER MUSIC / 47

CMU185.t_plugins.indd 47 10/25/12 12:16 PM

VIRTUAL ANALOGUE SYNTHS OTHER

LinPlug Alpha CM
• Dual oscillators with blendable waves
• Easy operation • Modulation matrix XILS-lab XILS 3 CM DopeVST Bass Engine CM Rob Papen RG-Muted CM
• Slick chorus effect • Polyphonic glide • Modelled on the EMS VCS 3 modular • 45 authentic hip-hop bass patches • Creates realistic funky guitar grooves
• Based on the commercial Alpha synth • Authentic oscillators, spring reverb • Three eras of faux-sampled material • Onboard sequencer
• AU/VST, 32-/64-bit and ring mod circuits of the original • Envelope and note controls • Effects and modulation options
www.linplug.com • Added chorus and delay effects • 50 MIDI riffs included • Based on Rob Papen RG
• Pin matrices to ‘patch’ the signal flow • Based on the full Bass Engine • AU/VST, 32-/64-bit
• AU/VST, 32-/64-bit • AU/VST, 32-/64-bit www.robpapen.com
www.xils-lab.com www.dopevst.com

XILS-lab PolyKB II CM DRUM

• Models the sound of the ultra-rare
PolyKobol hardware synthesiser
• Packed with mix-ready preset variants
MACHINES
• Knobs assignable to main parameters
AudioThing miniBit CM
• Based on XILS-lab’s PolyKB II Kirnu Cream CM • 15-waveform chiptune synth
• AU/VST/RTAS, 32-/64-bit • Master arpeggios with this MIDI tool • Envelope and LFO modulation
www.xils-lab.com • Get more out of plugin instruments by • Bitcrusher and sample rate reducer
controlling them with Cream CM! • Based on the full miniBit synth
• Program and store complex patterns • AU/VST, 32-/64-bit
• Musical controls for rhythm and notes www.audiothing.net
• AU/VST, 32-/64-bit
www.kirnuarp.com
DopeVST Beat Machine CM
• 50 ready-mixed, royalty-free kits
• Kick, Snare, Hi-hat and Misc parts
• Level, Pan, Pitch and Reverb controls
• 50 MIDI beats included
Madrona Labs Aalto CM • Based on the full Beat Machine Camel Audio
• Unique and powerful monosynth • AU/VST, 32-/64-bit Alchemy Player CM
• Unusual oscillators with FM www.dopevst.com • 200 awesome ready-to-play patches
• Waveguide delay section • Loads SFZ patches – often included in
zplane vielklang 2 CM
• Intuitively patchable modulation our own sample collections! • Pitch-correct and retune audio
• Onboard reverb • Step sequencing • Based on the full Alchemy synth • Harmonise melodies with ease
• Based on the full Aalto synth • AU/VST/RTAS, 32-/64-bit • Level and pan harmony voices
• AU/VST, 32-/64-bit www.camelaudio.com • Algorithms by the experts at zplane
www.madronalabs.com • Based on vielklang 2 Instant Harmony
• AU/VST/AAX, 32-/64-bit
www.zplane.de

AudioRealism ADM CM
• Old-school-style drum machine
• Emulates Roland’s legendary TR-606
• Also contains custom samples
• Based on the full ADM Eisenberg Einklang CM
• AU/VST, 32-/64-bit • Morph between a trio of oscillators
www.audiorealism.se • Envelope and timbre controls
• Modulate tone with the LFO
• Based on the full Einklang synth
• AU/VST, 32-/64-bit
www.eisenberg-audio.de

Autumn 2015 / Computer musiC / 17

> download / plugins

plugINS guIDE

EFFECTS
download
GGet all of these effects on
your PC or Mac right now at
vvault.computermusic.co.uk

FEaTurED Plugin EQ/ FILTERS

Ohm Force Ohmygod!

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

OverTone DSP
vielklang 2 Cm Program EQ CM
• Pultec-style vintage EQ emulation
• Dual low-frequency boost/attenuate

zplane’s incredible instrument controls; high-mid boost; high shelf cut

• Tube amplifier circuit-only option
• AU/VST, 32-/64-bit
analyses a monophonic audio eaReackon CM-EQUA 87 www.overtonedsp.co.uk
• Smooth three-band EQ
(or MIDI) part before generating up to • Adjustable low-cut filter
• Switchable high/low shelves
three harmonies in your chosen key • Analyser, EQ tips, limiter and more
• Based on eaReckon’s PR-EQUA 87
• AU/VST, 32-/64-bit
and scale. It also packs in advanced www.eareckon.com

pitch correction, allowing you to edit

AudioThing ValveFilter CM
the tuning of audio material on a • Gorgeous filtering and drive
• Low-pass filter circuit emulation
familiar piano roll-style interface. • Vintage valve saturation section
• Based on Valve Filter VF-1
• Settings randomiser and metering
• AU/VST, 32-/64-bit
www.audiothing.net
Vengeance Sound Philta CM
• Dual high- and low-pass filter
• 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

18 / Computer musiC / Autumn 2015

 plugins / download <

DYNAMICS MULTI ANALYSIS

EFFECTS

Blue Cat Audio

Unfiltered Audio G8 CM FreqAnalyst CM
• Get tight dynamics or creative effects • Pro-quality, feature-packed analyser
ToneBoosters Barricade CM • Includes advanced gating controls Subsonics Labs Wolfram CM • Numerous customisation options
• Intelligent, mastering-grade limiter • Real-time waveform display • Pitchshifting, distortion, phase- • Based on Blue Cat’s full FreqAnalyst
• Dynamic response controls • Use MIDI as a trigger or output shifting, panning, delay and filter • AU/VST, 32-/64-bit
• Stereo options and versatile metering • AU/VST, 32-/64-bit • Flexible modulation • RTAS 32-bit
• Based on the full Barricade www.unfilteredaudio.com • AU/VST, 32-/64-bit www.bluecataudio.com
• AU/VST, 32-/64-bit www.subsoniclabs.com
www.toneboosters.com

HoRNet Fat-FET
• FET-style compressor
• Similar to classic 1176LN Peak Limiter Inear Display Eurydice CM Photosounder Spiral CM
• Ultra-fast attack as low as 0.02ms. • Buffer override/repeat, delay, • Musical, note-based spectral analysis
• Based on HoRNet MultiComp bitcrusher and filter with modulation • Useful for figuring out notes in audio
• AU/VST, 32-/64-bit • Custom signal routing • Based on the full Spiral plugin
SKnote Snap www.hornetplugins.com • AU/VST, 32-/64-bit • AU/VST/AAX, 32-/64-bit
• Boost or tame transient brightness www.ineardisplay.com www.photosounder.com
• Brighten or dull a sound’s sustain
• Uses two intelligently linked filters

STEREO
• Not based on any existing plugin
• AU/VST, 32-/64-bit
www.sknote.it

HoRNet DrumShaper
• Instant EQ & compression for drums
• Dial in effect amount and in/out gain Vengeance-Sound Scope
• 7 algorithms for kick, snare, loops, etc • Spectrum view for frequency analysis
eaReckon CM-COMP 87 • Based on HoRNet TrackShaper • Oscilloscope for waveform monitoring
• Slick, punchy compressor • AU/VST, 32-/64-bit • Stereo phase and level metering
• Mix knob for parallel compression www.hornetplugins.com • Tons of advanced analysis options
• Limiter to keep the output in check • AU/VST/AAX, 32-/64-bit
• Clear VU- and LED-style metering www.vengeance-sound.com
• Based on eaReckon’s SD-COMP 87 Joey Sturgis Tones & Boz
• AU/VST, 32-/64-bit Digital Labs SideWidener
www.eareckon.com • Add stereo width to mono sounds!
• Signal retains mono compatibility
• Goniometer for stereo visualisation
• 3 widening modes, plus width & tone
• AU/VST/AAX/RTAS, 32-/64-bit
www.joeysturgistones.com
audioD3CK SunRuys CM www.bozdigitallabs.com
• Characterful bus compressor
• Dry/wet mix and blend controls
• Advanced options for serial tweakers
• Based on the full SunRuys plugin
• AU/VST/RTAS/AAX, 32-/64-bit
LVC-Audio Transector CM audio.d3ck.net
• Transient tweaking and saturation
• Define and process envelope stages
• Useful metering/display functions
• Mix control for parallel processing
• AU/VST, 32-/64-bit
www.lvcaudio.com

Autumn 2015 / Computer musiC / 19

> download / plugins

plugINS guIDE

EFFECTS
download
GGet all of these effects on
your PC or Mac right now at
vvault.computermusic.co.uk

Continued

DISTORTION/ SATURATION DELAY/

REVERB

Cableguys Waveshaper CM
• Graphically editable distortion curves
• Design curves by dragging nodes
• Syncable input vs output oscilloscope LiquidSonics Reverberate CM
• Not based on an existing plugin Audio Assault • Convolution reverb
• AU/VST, 32-/64-bit GrindMachine CM • A selection of real-world presets
www.cableguys.de • Import your own impulse response
v1.5 • Five amp and ten cab emulations
update • Three-band EQ plus depth and presence • Based on the full Reverberate plugin
• Djentbox for tightening low tunings • AU/VST, 32-/64-bit
• Based on the full GrindMachine www.liquidsonics.com
• AU/VST, 32-/64-bit
Audiffex STA Enhancer CM www.audioassault.com
• New for v1.5: CPU optimised, tube
mode soft switch, new interface
• Valve-style signal exciter/enhancer
• Separate low/high enhancement
• Choose from five tube circuitry modes Acon Digital CM Verb
• AU/VST, 32-/64-bit • Simple-but-versatile operation
www.audiffex.com • Five modes: hall, plate, studio, etc
• Built-in high- and low-pass filters
• Based on Acon Digital’s Verberate
• AU/VST, 32-/64-bit
www.acondigital.com

Sonimus Satson CM
• Classic mixer channel emulation
Kuassa PreMix CM • Subtle warming saturation
• Subtle saturation to screaming drive • Gentle, musical high/low filters
• Three-band Baxandall sweetening EQ • Based on Sonimus’ full Satson
• A/B comparison function • AU/VST, 32-/64-bit
• Not based on an existing plugin dsp.sonimus.com
• AU/VST, 32-/64-bit
www.kuassa.com

ViDEo guiDEs
Rop Papen RP-Distort CM Our Plugins Getting
Lindell Plugins 6X-500 CM • Five crunchy distortion algorithms
Started videos are also on
• Classic preamp emulation with EQ • EQ, dynamics, widener + modulation
• High and low boosts for musical tone • Filter and parallel processing controls YouTube. Head to the below
• AU/VST, 32-/64-bit
• Modelled on Lindell’s 6X-500
hardware preamp/EQ www.robpapen.com address to check them out:
• Based on the full 6X-500 and
ChannelX plugin bit.ly/Cmplugsoct15
• AU/VST, 32-/64-bit
www.lindellplugins.com

20 / Computer musiC / Autumn 2015

> news

New releases • commeNt • iNdustry happeNiNgs

Cockos Reaper 5 released

The super-customisable DAW is out to expand its user base with its fifth incarnation

Over its 10-year existence, Reaper has

shaped up into a high-powered,
massively flexible DAW that can rival
many of its peers, and with a nicely
competitive price tag to boot. The
‘generous’ Evaluation Licence and rapid
response to user requests and bug
reports have further contributed to the
DAW’s promotion via word-of-mouth,
rather than typical hype-oriented
marketing campaigns and adverts.
Version 5 is now here, which many
current licensees should receive for free. So
what’s new? Reaper’s look has been
upgraded but hasn’t been completely
overhauled. In fact, you can access interface
designs from old versions of Reaper through
the Themes menu. The interface, whichever
theme you’ve chosen, can be restructured
for better usability on different screen sizes.
Reaper 5 now comes with per-take (not
Reaper 5’s got a new interface style, but you can access older looks through its Themes menu
just per-track) automation, upgrades to the
browser and media explorer, and MIDI learn
support. VST3 plugins can now be run, and a ReaScript feature; but fresh for this release perhaps making it a good option for the
lot of tweaks have been made under the is the ability to use ReaScript as a full IDE for more media-minded producer.
hood to how the DAW handles the data writing and debugging scripts within Reaper is out now, costing $60 for
within a project. Reaper 5. This should win the interest of personal use, and $225 for commercial
Reaper already gives users the ability to codehead producers. users, with the 60-day Evaluation Licence
write scripts, making use of EEL, Lua or Cockos are also keen to trumpet their available to try too.
Python languages via Cockos’ own renovation of Reaper’s video support, too, READ mORE www.reaper.fm

New UAD plugins

Users of Universal Audio’s UAD system have a
number of new plugins to check out. The units in
Brainworx’ new Ampeg SVT bass amp bundle (top/
left, priced $229 or £149 separately) emulate the
SVT-VR amp and its SVT-3 Pro Rackmount sibling.
Softube’s Tube-Tech EQ bundle (bottom) makes the
transition to UAD, its PE 1C and ME 1B EQs
modelling the Pultec EQP-1A and MEQ-5 units.
They’re $299 each, or come bundled with Softube’s
CL 1B Compressor for $399. From UA themselves,
meanwhile, comes an AKG BX 20 Spring Reverb
emulation ($199, right). All are out now.
Several guitar-oriented plugins have come to UAD lately, which makes sense
considering Apollo’s super-low-latency live monitoring/recording capabilities READ mORE www.uaudio.com

24 / CompUter mUsiC / Autumn 2015

 Waves Cobalt Saphira trackers &
With its remit of “adding harmonics”, we
expect to file this one under saturation/
Demoscene
distortion. Cobalt Saphira does its thing in an
interesting way, with mock ‘busses’, allowing We catch up with OpenMPT
you to set Send and Return levels for both
even harmonics (which the plugin labels and bring you a C64 rock
Edge) and odd harmonics (which it calls
Warmth). There are seven different
album extravaganza
Harmonics Modes available for selecting the
character of the distortion you’re adding, We kick off this month with the latest
plus a dual four-band EQ that you can set up version of OpenMPT. A long-standing
for the odd and even harmonics signals. Windows-only favourite, v1.25 introduces
Going further, the plugin also throws under-the-hood improvements including
tape emulation into the deal, letting you SSE2 instruction support (for Windows 7 and
dial in five ‘tape speeds’ corresponding to newer), decimal tempos for precise timing
different levels of wow and flutter, at a and a boatload more. With support for a
modulation depth of your choosing. Cobalt multitude of legacy formats as well as
Saphira is out now in VST/AU/AAX formats, hosting modern VSTs, OpenMPT is ideal for
and it’ll set you back $149. the retro MOD enthusiast and contemporary
Harmonic spice READ mORE www.waves.com composer alike. openmpt.org
Also this month, some old C64 music has
had a facelift courtesy of SIDrip Alliance.
Their new remix album ReLive, released
during the recent AROK demoparty in
IK Stealth Limiter and
SampleTank CS
Aiming to bring new levels of transparency
and loudness to the mastering process,
“OpenMPT is ideal for the
Stealth Limiter for T-RackS has the basics
like Out Ceiling and Input controls, plus a
retro MOD enthusiast and
filter to cut the influence of sub bass on the
detection circuit, and there’s more Stealth Limiter is new for IK’s T-RackS CS users contemporary composer alike”
sophistication with Mode selection, input/
output/reduction metering, and dithering. already at work in T-RackS and AmpliTube, Hungary, aims to update classics such as
The company say that Stealth Limiter’s but may be more relevant than ever in IK’s Rob Hubbard’s Commando, Jeroen Tel’s
“inter-sample peak limiting algorithm” is sampling instrument, potentially allowing Supremacy, and a C64 version of one of
responsible for the device’s transparency. for easy sample pack purchasing and our all-time favourite PC demo tunes,
Stealth Limiter is available for €125 via the integration. ‘SampleTank CS’ replaces Second Reality by Purple Motion. Rock up
T-RackS Custom Shop. SampleTank 3 Free, and the Custom Shop at sidrip.com to hear it for free.
Also this month, IK have boosted also comes built into the full version of
SampleTank onto their CS (Custom Shop) SampleTank as part of a v3.6 update. demo of the month
platform. This ‘in-app purchase’ model is READ mORE www.ikmultimedia.com Monolith by Andromeda Software Dev.
Now in year 23, the renowned Assembly
demoparty always attracts some big hitters
in the scene, and this year’s August event in
Helsinki saw some epic entrants.
Andromeda Software Development have
wowed us silly before with their unique and
artsy productions, and Monolith, which took
first place in the demo competition, might
be their most impressive yet. Its disparate
themes include space, sea and ornithology –
plus, there’s a delightful segment of
animated people that puts us in mind of
those bits in Dire Straits’ Money For Nothing
music video. Speaking of which, the
soundtrack is one of aMusic’s better prog-
rockathon efforts, and lends itself
exceptionally well to the visuals.
Far from a humble noise gate, Expurgate has a massive feature list and is firmly on our reviews list
bit.ly/Andromedamonolith

DMG Audio Expurgate sidechain EQ, “extremely short attack and

Dave Gamble has a track record of coming release times when the safety is off”, and
up with definitive plugins, often leaving MIDI functionality for triggering purposes.
users wondering whether they’ll ever need Not content with all that, there’s a split EQ (to
to buy another of the same type – so the gate a limited band), a reduction Direction
pressure’s on with his latest, Expurgate. control and loads more. Expurgate
This VST/AU gate plugin features the even goes so far as to model classic gate
usual controls such as Threshold, Ratio, hardware circuits and filters. A
Knee, Hysteresis and Depth, but goes comprehensive plugin indeed!
further with additions such as a signal/noise It’s out now for £100.
detector, optional mid/side operation, a READ mORE www.dmgaudio.com ASD impress with the beautifully crafted monolith

Autumn 2015 / CompUter mUsiC / 25

> news

Get with the SKnote STA-limit 2

An analogue-modelled compressor/limiter
plugin, STA-limit 2’s ‘second coming’ sees

programmers improved low-frequency saturation

response, a better reaction to
transient sounds, and all-round
improvements to the distortion
We check in with the company that does it all, algorithm. It’s modelled on the
Gates STA-level hardware, and
from hardware mixers to iPhone apps SKnote say that version 2
“sounds cleaner even on extremely
dynamic sources like a raw, clean,
strummed electric guitar, and as a side
Your software works across various effect, gain reduction metering is now
platforms including iOS, and integration is more meaningful.”
often possible between apps. How do you You can pick up STA-limit 2 (VST/AU) at
make it happen? Will we see any tablet the SKnote website now for $30.
instruments or effects from PreSonus?
READ MORE www.sknote.it
AK “Over the past two years, we’ve
continuously expanded our application
software platform for hardware control apps
and standalone software. One important step Accusonus Era-D
in this process has been the porting of the This one is the result of a partnership
Studio One framework to iOS. Our custom between Plugin Alliance and Accusonus.
framework is the foundation for most of our Era-D is meant for restoration
software apps. It allows us to use practically purposes, claiming to remove both
PreSonus any Studio One feature or technology on any noise and reverberation from a
platform and vice versa. signal. Its algorithms are said to use
Arnd Kaiser “Technically, we’re able to port instruments multiple channels to gain more
or effects to any platform. We’re planning to information about the environment
add other platforms in the future – it’s really a a signal was recorded in – ambient
matter of time and resources.” feeds will come in useful during the
analysis process. The companies are keen to
You’ve transitioned from being a hardware company to one promote the research that’s gone into this
heavily involved with software. How has this helped you to make one. Era-D (VST/AU/AAX) is out now for $299.
your products better, and what things can it make harder? READ MORE pluginalliance.com
AK “It makes us independent from licensed software and allows us to
develop deeper integration between hardware and software. The biggest
advantage here is the ability to approach product design purely from a
user and workflow perspective, instead of trying to match hardware and SIR StandardClip
software and figure out how to put it together. A challenge for us – and part This new plugin is “designed to handle the
of the learning process – is the synchronised planning and design process audio clipping process as flexibly as
for combined hardware/software solutions.” possible” and should be of interest
to those looking for a little extra
The free Studio One Prime recently launched, with some features transparent level at the mastering
taken away compared to the full versions. What will it be useful for? stage. Control over the process
AK “There’s a lot of free software out there, but it rarely serves any real comprises an input gain fader and
purpose other than ‘teasing’ the user and pushing the user toward paid clipping ranging from hard to soft.
software. With Studio One Your signals can be oversampled
Prime, we are offering a up to 32x to combat aliasing artifacts, and
“Notion users and Studio One full-featured DAW with you get a choice between minimum phase
complete editing tools, no and linear-phase oversampling filter
users have very different track limits, and unlimited technology. Input and output metering
session storage. is also onboard, of course. StandardClip
needs and workflows” “It’s perfectly suited for (VST/AU/AAX) is out now for €19.
learning editing and READ MORE www.siraudiotools.com
mixing techniques, and great for teachers and students. Of course, songs
are compatible with Studio One Artist and Professional, and it can even
be expanded.”
Goodhertz TiltShift
We didn’t see any features from Notion introduced in Studio One A ‘tilt EQ’ such as the classic Tonelux Tilt
3. Do you think they’re best developed as separate entities? hardware is designed with one main control
AK “Actually, Notion 5 already includes Studio One technology, such as in mind: turn it one way to boost highs
plugins. We developed an integrated workflow for both applications – we and cut lows; the other to do the
realised that Notion users and Studio One users have very different needs opposite. With its eyebrow-raising,
and workflows, so instead of integrating both applications in one, we want abstract design, TiltShift (AU/AAX)
to allow the user to work in both applications side-by-side. takes the concept to a different level,
“With Notion 5.1, we introduced stem export to Studio One, so Notion adding in a Range parameter for the
users can work on a score in Notion, then export the audio as stems with tilt, plus extra filtering and makeup
a single click. These stems can then be opened in Studio One, together gain. Goodhertz have also baked in
with track names, tempo and markers – for editing, mixing and mastering. “perceptual loudness lock technology”,
Of course, Notion and Studio One can be used side by side using ReWire, which is designed to compensate for
providing a unified mixer for both applications. ” perceived changes in loudness when
applying EQ. It’s out now for $49.
READ THE FULL INTERVIEW bit.ly/GetWithPreSonus READ MORE www.goodhertz.co

26 / Computer musiC / Autumn 2015

 news <

years
back
It was all about birth, death
and extreme computing
back in our 92nd issue
It’s creative, and it’s beautifully designed, but how will Slam Dawg sound on your master buss?

We marked the passing of a legend in

92, saying goodbye to Dr Bob Moog, who
died on 21 August 2005. A decade later,
Beatskillz slam Dawg his name still means as much to synth
fans as it ever did.
Launching a mastering plugin as your debut paid-for product is We also bid farewell to ReBirth, as
quite a gambit, but this newcomer Indian developer is playing it Propellerhead retired the TR/TB
emulating software to the ‘ReBirth
nonetheless. Slam Dawg (VST/AU/AAX) takes a more abstract, Museum’. It didn’t stay in its glass case for
musical approach to its processing, with its controls dialling in too long, though, as it would later return
properties such as ‘Heat’, ‘Thump’ and ‘Pop’, plus faders for Dry as an iPhone app… which was then also
discontinued. You can still get it on the
and Wet signals. This prescribed approach to mastering may iPad, though (for now).
not be for everyone – metering isn’t exactly comprehensive, for
example, and there’s not a single number on the interface – but “We explained how
Beatskillz say it’s equally good for tailoring individual tracks too.
We’ll find out in our review, coming up in a future issue. Slam
to start programming
Dawg is available now for $149. in Max/MSP”
READ MORE www.beatskillz.com
Elsewhere, we explained how to start
programming in Max/MSP, which – let’s
be honest – many of us are still struggling
to do in 2015. Meanwhile, we reviewed

Ins & outs the iControl, M-Audio’s dedicated

GarageBand control surface, aping the
interface of Apple’s DAW perfectly – right
DRIVE MY SYNTH NOT IN DA cLUb down to the mock wood panels.
Roland has managed to Figures released recently showed Finally, we had a letter from a chap
find yet another outlet for its that more than half of Britain’s regarding his “complicated setup”, which
SuperNATURAL synth nightclubs have closed over the past featured “about 13 computers (Mac and
technology: the new GLM electric decade, which could be bad news if PC) all LAN networked and MIDI synced”.
sports car, set to go on sale in you’re looking for a venue to We think it’s fair to say that, when you
Japan. “Dynamic and dramatic” showcase your DJing and/or live can’t put an exact figure on the number
sounds are promised, and they’ll performance skills. Still, there are of computers you’re running, it’s probably
respond to your driving. always wedding gigs. And busking. time to strip things back a bit.

bUILDINg bRIDgES FAcINg THE MUSIc

We love our plugins, but the release Apple announced that they had
of Elektron’s Overbridge, which 11 million Apple Music users five
adds tight DAW integration to its weeks after launch, but then a
Analog synths and drum machines, survey suggested that almost
marks another step forward for half of these weren’t actually
software/hardware integration. using the service. Only time will
Creating a ‘best of both worlds’ tell if users will stay onboard
system is getting easier and easier. once the free trial periods expire.

‘MALLOW MIDI TRAckEOTOMY

Up until now, Bluetooth MIDI has The beats might be sick, but the
felt very much like an iOS and OS X National Journal of Nurses has
thing, but we hear via Livid warned that surgeons who listen to
Instruments that it’s also music during operating procedures
going to be supported in may find it more difficult to
Android Marshmallow, the concentrate. Apparently, loud drum
forthcoming version of ’n’ bass is a particularly dangerous
Google’s mobile OS. surgical soundtrack. We roped Amon Tobin, amongst others, into
helping us out with our sampling cover feature

Autumn 2015 / Computer musiC / 27

> news

freeware news
We keep our eyes trained for free plugins so you don’t have to! Have a
look at what’s surfaced this month and download some tools for nowt

Matt Tytel Helm

A superb new open-source synth that’s sure to
cause a stir among users of all major platforms
Its not too often that we see a plugin waveforms, as well
so very compatible as Matt Tytel’s as a noise generator.
new Helm synthesiser. Not only is it Seven filter modes
available in 32- and 64-bit VST, AU, and are on offer, in
AAX incarnations for both OS X and addition to a
Windows, but Linux users can run it as an dedicated formant
LV2 plugin as well. Better still, it’s been filter. Two ADSR
released under the GNU license so there envelope
are no DRM hassles to prevent you from generators, four
distributing it as you like, or even LFOs and a step
Helm’s available in VST, AU, AAX and even LV2 formats
modifying the source code to create and sequencer handle
distribute your own version. This is as modulation duties.
magnanimous as it comes. Standard built-in effects include reverb presets gives only a glimmer of what’s
So what do you get? A wicked dual- and delay, and there’s also a stutter module possible with this awesome instrument,
oscillator synthesiser with any of 11 and an oscillator feedback section. An but we’re sure you’ll be inspired to create
waveshapes available to each. There’s a sub arpeggiator will bring out some more your own.
oscillator with the same complement of elaborate signals. The meagre selection of tytel.org

MeldaProduction Beatskillz Matthieu Brucher

MChannelMatrix Beatfactory Drums ATK sidechainCompressor
MeldaProduction are This groove-maker brings We discussed the
all about flexibility, and you ten kits, each with 12 many benefits of
nowhere is this better component sounds that sidechain plugins in
demonstrated than in you can level and pan to 219’s massive
the new addition to the your liking. The included Sidechain Secrets
MFreeEffectsBundle, which is itself included in kits are style-based, cover feature. As part of Brucher’s also-updated
the demo download of their commercial set. offering you genres such Audio Toolkit collection, this VST/AU plugin
MChannelMatrix (VST/AU/AAX) is designed to as hip-hop, trap and features the expected Attack, Release and
offer complete, flexible routing and rerouting of dubstep, as well as 80s, Threshold controls, plus Slope, Softness and
your main and sidechain inputs. For example, you ‘samples’, 808 and Indian. Global controls include Make up. It’s got two channels, for stereo or
may want to swap the left and right channels or Pan and Reverb, and there’s an ADSR envelope mid/side usage. Check it out along with the new
grab only the left channel from your sidechain thrown in for good measure. It’s available as an ATKSidechainExpander and other free and open-
– now you can do exactly that and much more. AU/VST plugin for Mac and Windows. source effects at the link below.
www.meldaproduction.com www.beatskillz.com bit.ly/BrucherATK

CLASSIC FREE SOFTWARE

Steinberg Karlette
Steinberg started this VST plugin lark, headed tape echoes, this nifty plugin offers
so it should come as no surprise that four independent repeats with tempo sync.
they’ve developed a few classics in their Each ‘head’ provides individual pan,
time. Some of them have been bundled with volume, dampening and feedback controls.
Cubase, while some of them are freely Karlette for PC/Mac is available as part of
available to users of any VST-equipped Volume 2 of Steinberg’s VST Classics series
DAW. Karlette is a freebie dating back to the and is still well worth a look.
last millennium. An emulation of multi- www.steinberg.net

28 / CoMpuTer MusiC / Autumn 2015

ISSUe 222 AUTUMN 2015
Future Publishing Ltd.
What’s on your
hard drive?
Quay House, The Ambury, Bath, BA1 1UA
Tel: 01225 442244 Fax: 01225 732275
Email: [email protected]
Web: www.computermusic.co.uk
eDItOrIAl
Editor: Lee du-Caine, [email protected]
Art Editor: Mark White, [email protected]
Features Editor: Joe Rossitter, [email protected]
Production Editor: James Russell, [email protected]
CONtrIBUtOrS
Tim Cant, Scot Solida, Dave Clews, Danny Scott, David Newman,
Jon Musgrave, Leon Bailey, Ronan Macdonald, Ben Rogerson,
Paul Bondy, Owen Palmer, Alex Williams, Tim Oliver

Photography: iStockphoto, Shutterstock

ADVertISING
For Ad enquiries please contact: Leon Stephens, [email protected]
mArKetING
Group Marketing Manager: Laura Driffield
Marketing Manager: Kristianne Stanton
prODUCtION & DIStrIBUtION
Production Controller: Fran Twentyman
Production Manager: Mark Constance
Printed in the UK by: William Gibbons & Sons on behalf of Future
Distributed by: Seymour Distribution Ltd, 2 East Poultry Avenue,
London EC1A 9PT, Tel: 0207 429 4000
Overseas distribution by: Seymour International
CIrCUlAtION
Trade Marketing Manager: Michelle Brock, 0207 429 3683
SUBSCrIptIONS
UK reader order line & enquiries: 0844 848 2852
Overseas reader order line & enquiries: +44 (0) 1604 251 045
Online enquiries: www.myfavouritemagazines.co.uk
Email: [email protected]
lICeNSING
International Director: Regina Erak, [email protected]
Tel: + 44 (0)1225 442244 Fax: +44 (0)1225 732275
mANAGemeNt
Content & Marketing Director: Nial Ferguson
Head of Content & Marketing, Film, Music & Games: Declan Gough
Group Editor-In-Chief: Daniel Griffiths
Group Art Director: Graham Dalzell

NEXT ISSUE ON SALE: 7 October

Alex Adair
The man behind the chillout anthem Make Me
Future is an award-winning international media
group and leading digital business. We reach more
than 49 million international consumers a month
Feel Better likes to keep it simple in the studio
and create world-class content and advertising
solutions for passionate consumers online, on tablet
& smartphone and in print.
Apple lOGIC prO anyone’s going to email you saying, ‘Hey,
I studied music and production at college, that’s not a real piano!’
Future plc is a public Chief executive Zillah Byng-Maddick and Logic was the DAW they used, so I sort
company quoted Non-executive chairman Peter Allen
on the London of got stuck with it. I dabble with Ableton NAtIVe INStrUmeNtS KONtAKt
Stock Exchange – certainly better for sound design – but Because I don’t actually play guitar, I use this
(symbol: FUTR). Tel +44 (0)207 042 4000 (London) Logic is the one I make songs on. I use the for all my acoustic guitars, played from a
www.futureplc.com Tel +44 (0)1225 442 244 (Bath)
EXS24 sampler a lot! The main marimba
All contents copyright © 2015 Future Publishing Limited or published under licence. All rights sound in Make Me Feel Better is heavily “Great synths
reserved. No part of this magazine may be reproduced, stored, transmitted or used in any way modulated EXS.
without the prior written permission of the publisher.
Future Publishing Limited (company number 2008885) is registered in England and Wales.
can adapt with you”
Registered office: Registered office: Quay House, The Ambury, Bath, BA1 1UA. All information CytOmIC the GlUe
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 For a while, I went a bit crazy with keyboard. It’s hard to write guitar lines on a
information. You are advised to contact manufacturers and retailers directly with regard to the production plugins, trying anything and keyboard, but you sometimes come up with
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 everything, looking for that perfect preset. better hooks. You think in a way that’s
contents or any changes or updates to them. But, after a while, you realise that you tend different to a guitar player.
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
to gravitate towards certain tools. The Glue
worldwide and in any physical or digital format throughout the world. Any material you submit never overpowers a sound, but you just leNNArDIGItAl SyleNth1
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. know that it’s doing its job. In the early days, I was heading towards a
more progressive house sound, and
mODArtt pIANOteQ 4 Sylenth1 fitted that perfectly. As my sound
We are committed to People say that you can’t beat the sound of a changed, the way I used Sylenth1 changed;
only using magazine
paper which is derived real piano; I think it depends on the kind of great synths can adapt with you. In terms of
from well managed,
certified forestry and
music you’re making. If you find a piano that synths, I like to keep it simple. This is where
chlorine-free fits your sound, stick with it. It’s unlikely that most of my sounds come from.
manufacture. Future
Publishing and its paper
suppliers have been
independently certified Alex’s second single, Heaven, is out now on Black Butter/Ultra music
in accordance with the
rules of the FSC (Forest www.facebook.com/AlexAdairOfficial
Stewardship Council).
creative
concepts

It’s complicated
Accumulating technical knowledge can do wonders for your
production abilities, but with it comes the risk of overcomplicating
Joe Rossitter Do you ever feel like you’re more of a
programmer or computer geek than an
make, wondering if you’ve been doing it all
wrong, obsessing over details.
’s Features actual musician? Upon flicking through the Nowadays, the best music I make will happen
Editor is a pages of , my mum has commented, “The quickly, and roughly after I’ve consciously tried
seasoned expert magazine looks lovely, but it’s like reading to regress to a naïve state, block out the
in all aspects of another language!” And she’s right, of course. technical stuff, and just do what sounds good. I
track creation, To the average person, music software speak think this is a big part of why some producers
from workflow is on a par with Klingon. We don’t just use prefer hardware and the workflow involved,
management speakers, we use ‘monitors’ (not to be confused dragging them out of ‘computer programmer’
and kickstarting with a computer screen). We edit audio, detune mode and into full-on ‘musician’ mode. With this
creativity on oscillators, split frequencies, calculate delay in mind, I’ve picked out a few common ways in
through to tempos, analyse harmonics and parallel- which us producers can hugely overcomplicate
advanced sound design, mixing and compress. Many of us even build our own matters, plus solutions to those dilemmas.
mastering. When Joe’s not putting his padded cells, just because “it sounds better”.
considerable skills to good use crafting Music production is undoubtedly one of the Three overcomplications
tutorials for , he’s hard at work with more complicated hobbies around. A guitarist Sometimes, you’ll get a specific sound in your
DnB trio Chromatic, producing, playing can pick up a guitar, plug into their amp and jam; head, then spend ages trying to create it. If you
out and polishing up tunes for such key I have to turn on the computer, load the DAW, were less experienced, you’d probably just keep
labels as Playaz and Innerground. call up new MIDI or audio tracks, find suitable on looking for a better source sound, or use the
www.facebook.com/chromaticuk sounds, adjust level/pan/ sound for what it is and not
EQ/compression
settings… and that’s
“Block out the what it isn’t; but instead, your
ego is certain that you can
Check out the stripped-back
sounds of old-school Chicago
without the constant
DAW/computer technical stuff, achieve magic through
processing. Don’t get lost
house producers such as Frankie maintenance or related down this kind of tangent
Knuckles for a different take issues. As audio
production is in the
and just do what – find a more fitting sound
source instead!
technical realm, it’s easy
for us to overcomplicate
sounds good” Second, being able to use
lots of plugins isn’t a bad thing
the process. in itself, and sometimes it can
help you to root out a sound. But that might only
Mind over matter happen after you’ve piled on so many plugins
Wouldn’t it be liberating to be able to regress to that you’re, say, adding loads of treble with one,
the mental state you were in when you first then reducing it with the next, and so on.
picked up the hobby? In those early years, I’d Instead, you might be able to get the same end
finish a new track almost every day, fuelled by result – and probably a better, cleaner one – by
blind enthusiasm. Granted, the tracks were ear- stripping it back and using less processing,
gratingly bad, but there was a naïvety that taking a more direct route to the same sound.
© Guy Baker/ PYMCA/ REX Shutterstock

pushed me to finish (and learn) more. As you Finally, many of us will reach for ‘default’
stockpile more knowledge, your aural standards processing – for instance, it’s really easy to slap
increase, and you learn more and more about EQ, compression and reverb on your snare
the ‘right’ way to do things: always make EQ without stopping to think about whether it even
cuts, never boost; use low-ratio compression on needs those things! Use your ears and evaluate
the master bus; keep your faders out of the red. what a specific sound needs in the moment,
Suddenly, you’re overthinking every move you rather than just calling up your default chain.

Using simpler tools

It’s difficult to keep the music creation In the wrong hands, these kinds of ‘all- haven’t been anywhere near a mid/side
process as simple as possible when a lot of singing, all-dancing’ plugins can lead to multiband maximiser!
the tools we use are inherently complicated unnatural, overprocessed mixes – traits that It’s no wonder that producers are
and convoluted. The latest four-band weren’t so common 20 or so years ago, looking back to those more simple times in
compressor/limiter/gate/maximiser/exciter where the average bedroom studio would search of inspiration. The raw, rugged
may look exciting, and may outperform an at best contain a couple of outboard sounds of 90s Chicago house and Detroit
entire 60s recording studio on paper, but samplers, one or two compressors, and a techno – 808/909 drums, acid, and a raw
will likely make your sound four times mixing desk with basic three- or four-band ‘underproduced’ aesthetic – have made a
worse when used incorrectly – plus, being EQ on each channel (not the precise huge resurgence in the genre, providing the
so complicated to figure out, you’ll need to parametric EQs we’re used to). Surprisingly, antithesis of the hypercompressed, modern
read the entire manual. some of the most seminal records of all time sound of EDM. Keep it simple, stupid!

32 / Computer musiC / Autumn 2015

 / burning question

What will
Windows 10 mean
for computer
musicians?
PreSonus Cakewalk
“While it’s still too early to know “Windows 10 is a mature version
what the full benefits of of Windows that has some
Windows 10 will be for welcome improvements for
musicians, we feel confident that music production users. The
they can expect a more overall experience is smoother,
powerful, solid and efficient and our testing and benchmarks
operating system that fulfils the have shown not only speedier
creative promise of Windows 8 performance overall due to
without the distracting UI optimisations in the OS, but also
aspects. Initial benchmarking more efficient low-latency
points towards even lower processing. This, combined with
latencies, and musicians with a much cleaner and friendlier
multitouch PCs will enjoy the workspace, will make this
improvements. Studio One 3, upgrade very pleasing for
Notion 5, and our current musicians. With a lighter
interfaces and StudioLive AI footprint, the boot time is
mixers are already fully quicker, and we even found that
compatible with the new OS.” Windows 10 can benefit those
– Carl Jacobson using older machines.”
– Noel Borthwick
Acoustica
“Windows 10 has a lot to offer n-Track
musicians. The built-in Cortana “Windows 10’s audio stack
digital assistant can answer improvements allow for much
questions like ‘What are the reduced latencies for non-pro
notes in E minor?’ or ‘What is the audio applications. Specifically,
frequency of middle C?’ Serious audio latency is significantly
improvements have been made reduced when sharing audio
to the audio system that promise devices with other apps. Pro
improved latency, and better audio applications, which
MIDI timing and audio already access audio devices in
processing. Having everyone on exclusive mode (using ASIO,
the latest platform helps WDM-WaveRT or Wasapi-
software and driver developers exclusive), don’t benefit from the
ensure new features will work new reduction in latency in
properly on most computers.” Windows 10. They do, however
– Dan Goldstein benefit from another
improvement in Windows 10,
Madrona Labs which adds a ‘special mode’ for
“Most musicians I know see OS low-latency audio, where the
updates as a kind of necessary audio streaming is not disturbed
evil because they bring new by other tasks. Because of these
bugs. My customers who are improvements, Windows 10
most serious about music are will bring musicians a smoother
most likely to be running experience when playing
Illustration by Jake

Windows XP or 7, and will and recording, with less risk of

upgrade when they get a new audio glitches.”
computer.” – Randy Jones – Athos Bacchiocchi
Subscribeandsave
Choose your paCkage
prINT DIgITaL

ONLY £31.50 ONLY £13.50

every 6 moNThs every 6 moNThs

 very issue delivered to your

E Instant access on your iPad,
door at a fraction of the price iPhone and Android device

34 / Computer musiC / Autumn 2015

 subscriptions <

prINT + DIgITaL

SA %
40
VE
All packages include
exclusive access to
the Computer Music
Vault. Downloads
include all this:
40+ VST/AU
plugin instruments
and effects
Hundreds of
amazing, inspiration-
filled samples
Expert video for

ONLY £36.00 every 6 moNThs

every tutorial in
the magazine
Videos of the latest
plugins in action
Never miss an issue, with delivery direct to your
door and instant access on your digital device Tutorial files to
help you follow
Huge savings, the best value for money, and a our guides
money-back guarantee
And more!

IT’S EASY TO SUBSCRIBE

Click myfavouritemagazines.co.uk/CMUsubs
PricesandsavingsquotedarecomparedtobuyingfullpricedUKprintanddigitalissues.Youwillreceive13issuesinayear.Ifyouaredissatisfiedinanywayyoucanwritetousorcallustocancelyoursubscriptionat
anytimeandwewillrefundyouforallunmailedissues.Pricescorrectatpointofprintandsubjecttochange.Forfulltermsandconditionspleasevisitmyfavm.ag/magterms.Internetaccessrequiredtowatchvideos
directlyinsidetheiPad/iPhone/iPodtouchedition.Offerends8October2015

Autumn 2015 / Computer musiC / 35

 COMPETITION

WIN!
WORTH
OVER
£14,000!
A BACKLINE Meinl Byzance Brilliant
20” Medium ride

FOR YOUR BAND

Planet Waves
headstock tuners
D’Addario NYXL1046
nylon guitar strings Moog Sub 37
Planet Waves Paraphonic synthesizer
pro winders Orange Crush Pro CR120H
lead guitar amp head
D’Addario EXP26 electric
guitar strings
Rode NTR Ribbon
Fender American Microphone
Standard Stratocaster

Orange CR PRO412
Speaker Cabinet

Meinl drum rug

Planet Waves
American Stage
guitar cables

TC Helicon VoiceLive 3
vocal processor
Boss DM-2W Boss SD-1W Arturia BeatStep Pro
Delay Boss Waza Super Overdrive hardware sequencer
Craft BD-2W UA Apollo Twin Duo
Blues Driver Planet Waves plectrums
Genelec 8330 Smart audio interface and DSP
Studio One V3 Pro DAW
Active Monitor Pack

I
t’s the ultimate prize in music. All the Start with a beat from Arturia’s Beatstep Pro.
gear any band or studio could ever Then record your performance via the stunning
need, hand-picked by the Editors of the Rode NTR mic via a Universal Audio Apollo Twin
world’s best music magazines. It’s an Duo into Presonus’ Studio One DAW. All while
incredible haul worth over £14,000 and monitoring via the amazing Genelec 8330
it can all be yours… Smart Active Monitor system and Pioneer’s
There’s world-class guitars from Fender, HRM-7 cutting-edge headphones. Phew.
amps from Orange and TC Electronics, drums It’s a once-in-a-lifetime prize that’s
and cymbals from Pearl and Meinl, and a guaranteed to send any band’s career skyward
state-of-the-art synth from Moog to get the so grab your chance of winning all of the above
party started. Set up in fine style with studio by heading online, filling in your details and
essentials from premier music store DV247. answering one simple question. Good luck!

GO TO: http://www.futurecomps.co.uk/win-a-backline
Full terms and conditions are online
 COMPETITION

Pearl Masters BCX five piece drum kit.

22”x18” bass drum, 10”x8” and 12”x9”
toms, 16”x16” floor tom,
14”x5½” snare drum Meinl Byzance Brilliant 18” medium crash

Pioneer HRM-7
headphones Essential hardware by DV247
www.dv247.com is your one stop shop for all
your gear needs. From keyboard stands to smoke
Meinl Byzance Brilliant machines and all the instruments in between
14” medium hi-hats

Pearl 930 Series TC Electronic BH800

hardware pack bass guitar amplifier

Meinl cymbal bag

Fender American
Standard Precision Bass

Meinl cowbell with

bass drum mount

Meinl 4” knee pad

D’Addario EXL170 bass TC Electronic K-410

guitar strings bass guitar cabinet
Evans drum heads tom pack
TC Electronic Switch 3
and snare drum heads
foot controller
D’Addario t-shirts
Evans EMAD bass drum head
ProMark drum sticks

Brought to you by…

> make music now / modern compression

MODERN

Parallel custoM d.i.Y.

Processing dYnaMics

Master bus Pro features

coMPression exPlained

38 / Computer musiC / Autumn 2015

 modern compression / make music now <

Make your mixes more powerful,

polished and pumped than ever
before with today’s cutting-edge
compression techniques

Compression is arguably the most compressor, and you’d think technology trove of insight and technique that will
all-round difficult aspect of mixing would make it dead easy to attain such allow you to master today’s cutting-edge
to master. The basic concept desirable results in 2015. techniques and deploy them using the
confounds beginners; it’s not always If anything, though, the plethora of very best compressors in your arsenal.
clear when it’s needed, or what options, parameters and advanced We’ll cover a broad range of topics
settings should be used; it can be hard techniques presented by today’s relevant to the modern compressionist,
to know what you’re actually listening modern compressors only serves to from mix philosophy and under-the-
for; and to top it all off, it’s way too make striking dynamic gold even more hood analysis, to essential but often-
download
Get the videos and tutorial
easy to do more harm than good. of a lottery. Sure, these compressors misused techniques like parallel, files on your PC/Mac at
But compression isn’t all bad – far sound superior, but they don’t come mid/side and master bus compression. vault.computermusic.co.uk

from it! Get it right, and tracks can ready-supplied with the know-how, If you’re not quite ready for this level
seemingly swell up in size, punching in technique and skills that you actually of advanced dynamic trickery, don’t
all the right places while remaining silky- need to make the most of them. worry – we’ve prepared a selection of
smooth in others, with an intrinsic As ever, ’s got your back. We previous tutorials to bring you up to
groove and glue that’s hard to achieve understand the pain and distress that a speed, detailed on the next page.
through any other process. That’s what poorly compressed mix can cause, so Now, pull on your mixing trousers and
we’re going for when we reach for the we’ve compiled the antidote: a treasure let’s compress to impress…

Autumn 2015 / Computer musiC / 39

> make music now / modern compression

Compression philosophy
In this Modern Compression feature, we’ll be You’ll also need to make your decisions based
concerning ourselves with the intricacies of on the whole mix, not just an individual sound
today’s compressors and advanced techniques. when listening in solo. Compare your mix to
We’ll be assuming that you already have a basic some good-quality references and observe how
knowledge and understanding of compression, the elements are used. There’s likely to be a
but if you’re still a little hazy on the basics, we’ve balance of punchy, snappy elements, and
prepared a bunch of bonus tutorials to help you smoother, more blunted ones backing them up
get up to speed – see the box below. or filling the gaps. Compression can help you
As you may well know, compressors are achieve both types of sound, but if you fill your
effectively automatic gain controls: when the mix with only one or the other, you’ll either end
signal exceeds a certain threshold, the up with a mix that’s overly spiky (too many
compressor reduces the outgoing level. How punchy/snappy elements) and annoying to
quickly this happens is determined by the attack listen to, or one that lacks impact (transients
control; the ratio determines by how much the dulled by compression/limiting). Also pay
level is reduced; and the release setting is used attention to general instrument levels, to
to dictate how long the compressor takes to develop an idea of just how consistent they
return to “no reduction” once the incoming need to be for a ‘good’ mix.
signal falls below the threshold. All good.
But why do we compress? When should we Do you need to compress everything? Bruce Swedien It’s compressin’ time
apply it? What are the outcomes that can be certainly didn’t when he mixed the seminal Thriller Assuming that you’ve identified that you do
achieved? And how do we execute them? need to use compression on a sound, you’ll need
compression without stopping to consider that to dial it in appropriately, and this is where
100 reasons perhaps it isn’t necessary – compressing ‘by understanding the parameters is crucial. Do you
There are, in fact, many reasons that you might default’ really isn’t a good idea! Indeed, want more punch, for example? Then you’ll want
use compression. You can add punch, add snap, legendary engineer Bruce Swedien famously to turn the attack up – this will allow the initial
control signal peaks, smoothly level the signal, avoids the use of it, asserting that “compression transients to come through before the
is for kids”. If you’re not familiar with Bruce, compressor bites down on the sustained part of

“There are other you’ll certainly be familiar with his most famous
work, Michael Jackson’s Thriller, which remains
the sound, resulting in enhanced, punchier
transients. By the way, this is a great example of
a sonic benchmark to this day. how compressors don’t always reduce dynamic
ways to achieve Go to the source
range – with this setup, they could increase it, as
the sustained elements are pushed down in
compression- So if your sound lacks punch, for instance, why
not try tackling that at the source first by
level in comparison to the transients! That’s just
one example of a compressor setup, though,

style results” adjusting your synth’s envelopes, or adjusting

your guitar amp’s settings, for example? And if
and we’ll be examining more throughout this
tutorial. The bonus material referenced in the
you decide that processing is needed, bear in box below provides further examples.
add flavour/distortion, or achieve a ‘familiar’ mind that there are other ways to achieve Then there’s the issue of which compressor
sound that we associate with a well-produced compression-style results that may be more to use for a particular job, and this throws up the
mix (this applies particularly to mixing real suitable, such as automating levels, transient- question of how compressors can differ when
instruments). Rather than aimlessly tweaking shaping plugins, drum-levelling processors they’re designed for the seemingly simplistic
and hoping something good happens, then, take (eg, Sound Radix Drum Leveler), saturation task of reducing signal levels when they get too
a considered approach to compression. devices, and so on. Indeed, the ‘compressed’ loud. There are, in fact, many factors at play, and
First, do you actually need to compress at all? sound that you are hearing in your head may we’ll kick off by examining some of them in our
Many of us are guilty of reaching for the EQ and not be the result of compression at all. first tutorial. Here it comes…

New to compression? Start here!

If you’re still getting up to speed with what
compression is all about, we’ve supplied some
bonus materials from previous tutorials to
help break it to you gently.
First, we’ve got a selection of pages and
audio examples from 170’s Complete Guide
To Compression, focusing on basic principles
and tried-and-tested instrument-specific
settings. And from 202’s Get A Grip On
Dynamics, we present a closer look at how
compressors do their thang, and a selection of
video-equipped tutorials. You’ll find this bonus
content in this issue’s Vault download.
If you’re hungry for more, you can get the
full-length versions of these tutorials with their
respective digital back issues via Apple
Newsstand, Zinio and Google Play. Note that
170 predates our Vault download system, but
the Tutorial Files can be had at bit.ly/cmtutfiles Modern Compression going over your head? No problem! These bonus tutorials in the Vault will get you up to speed

40 / Computer musiC / Autumn 2015

 modern compression / make music now <

> Step by step 1. Analysing how different compressors respond

1 2 3
Before we get deep into compression Our graph shows the resulting Even with the same settings dialled in,
technique, we’re going to take a closer compressed waveform at the top, and compressors can sound very different.
look at compressors themselves, to below, it, the gain reduction applied (ie, Let’s explore this, pitting our CM-COMP 87,
understand how they differ, and thus why when the compressor is doing nothing, we made by eaReckon, against Ableton Live’s
you’d ever need more than one get a solid blue bar). The graph represents stock Compressor. We’ve set both with
compressor plugin. We’re going to use the effect the compressor has on the Threshold at -20dB, Ratio at 4:1, Attack
some visual analysis trickery to help us signal’s level, demonstrated here as we at 1ms and Release at 200ms. We disable
understand exactly what’s going on inside adjust threshold, ratio, attack and release. the Limiter on CM-COMP 87 and the
our compressors. Watch the video for a clearer view. Makeup on the Live Compressor.

4 5 6
Toggling between the compressors, It’s clear from the graph that there’s Actually, Live’s Compressor does have
they sound completely different – something inherently different about a Linear envelope option, and with
check it out in the audio files and video. the shape of the release curves these two this enabled, Release at 266ms, Knee set
Using the graph to help match the compressors use: while Ableton’s to 1dB and a Ratio of 4.2:1, the two
response, we end up with a Ratio of 6:1, Compressor gradually eases off the gain compressors sound astonishingly similar.
Threshold at -25dB and Release of 99ms reduction (as shown in the previous step), Although we’ve only looked at a few basic
on the Live Compressor. That’s as close as CM-COMP 87 release curve is more of a factors (and there are many more!) within
we can get it with the basic controls, but straight line – that is, it is linear. No wonder a limited scenario, this gives us an idea of
it’s still audibly and visually different. we can’t get them to sound the same! the differences between compressors.

> Step by step 2. Analysing compressor distortion

1 2 3
Here we’ve got a sine wave (sine.wav, With Attack and Release both set to This is actually normal and correct
if you want to try it), at C0 (approx. 100ms, and a 2:1 Ratio, bring the behaviour for a compressor. A
135Hz), monitored on our Scope CM Threshold down until you see some gain waveform is just a repeating set of
frequency analyser. It’d be fair to assume reduction taking place. Even with just -3dB amplitude bumps, and as the compressor
that we’ll see the level of our single of reduction, a mysterious harmonic has continuously tries to follow their level, it
frequency going up and down according appeared on the graph. Now gradually makes constant level changes, distorting
to the compressor’s action. Load up a reduce the Attack and Release times to the waveform. Features such as Hold or
compressor with fast attack/release – 1ms and you’ll see more harmonics, and RMS detection can counteract this when a
we’re using Blue Cat Audio’s Dynamics 4. hear clear distortion. cleaner result is required.

Autumn 2015 / Computer musiC / 41

> make music now / modern compression

13 advanced features explained

01 02 04
Upwards all BUttons Knee
Compression No advanced tutorial on This parameter affects the onset
This concept can take some time to compression is complete of compression – ie, how ‘sharply’
comprehend – either theoretically or without mentioning this time- the compression will kick in with
in use – and it’s possible you may not need it in honoured technique for operating the Urei 1176 regard to the signal passing the threshold (or
practice very often. Nevertheless, it’s worth hardware compressor. Whether by design or not). It can be very sudden (hard knee), very
understanding what upwards compression is. not, pressing in all the ratio buttons on an 1176 gradual (soft knee) or somewhere in between.
With a normal compressor, signal levels not only pins the meter needle to the endstop, With a hard knee, no compression is applied
above the threshold are reduced by an amount but also creates unusual attack, release and until the threshold is reached, upon which the
dependent on the ratio setting. For upwards ratio behaviour, often used to great effect on full ratio comes into play; with a soft knee, the
compression signals below the threshold are drum kit overheads. You’ll notice how the initial compression is applied gradually as the signal
increased in level, often achieved using the transients get through, but that the behaviour is level approaches the threshold, eventually
‘expander’ element of more advanced dynamics then more like a hard limiter. Overall, the effect reaching the full ratio amount.
units. The result is to bring up the level of the can be very coloured. UA’s official 1176 In practice, this influences the sound of our
noise floor, an effect that works well coupled emulations and IK Multimedia’s Black 76 are two compression, moving from audibly obvious
with the auto-gain option on many compressors. emulations capable of the ‘all buttons in’ trick. coloration with a hard knee, (good for precise
processing of drums), to more transparent level
control (highly useful in mastering). In practice,
the other thing you’ll notice is compression

03
starting sooner with a soft knee for any given
threshold. In the video, moving SSL X-Comp’s
sidechain eq/filter Knee control from 0dB (hard) to 40dB (soft)
perfectly demonstrates this phenomenon.
Compressors typically use a duplicate of
the input signal as the sidechain. However,
this signal can often be modified as well,
and although some plugins include fully parametric
EQ, more typical is a simple high-pass filter. Adjust this
gradually up from its minimum, and you’ll find the Not sure what that Knee control on your compressor
compression becomes less and less responsive to low does? Check out our video demonstration

05
frequencies such as kick drums and basses, thus dry/wet
Parallel or ‘New York’
avoiding the ‘pumping’ problems caused by compression involves blending
your compressed signal with
overreaction to heavy bass. For more complex plugins the original non-compressed signal. Many
compressors now incorporate the option as a
with parametric sidechain EQ, use it for focussed, parameter – look out for a wet/dry control near
the output section. This feature allows us to
frequency-specific dynamic control. retain transient definition and also be more
aggressive with the compression settings,
capturing the ‘flavour’ associated with heavier
compression. It can work particularly well
when shaping individual raw beats, but can be
used on sub mixes and full mixes. Getting the
balance between the compressed and dry
signals can take time to master, so as a starting
point, try a simple isolated sound such as
snare or kick rather than your whole mix. We’ll
explore parallel processing in greater depth in a
later tutorial.

06
looKahead
In very simple terms, this option
delays the audio but not the
control signal – that’s the
sidechain – so the compressor reacts earlier
than it should. It sounds like a good thing, but
bear in mind that the release stage will also be
early. To compensate for this, you may find it
useful to set the compressor’s hold parameter, if
available, to the same time as you’ve set the
High-passing the sidechain signal can reduce ‘pumping’ effects – very useful for drums and mixes lookahead setting.

42 / computer music / Autumn 2015

 modern compression / make music now <

07
10
analogUe modelling
It’s safe to say that analogue plugin range
emulations are really in their
second era, and have moved on This is a parameter
from simple ‘end-to-end’ analysis and into
individual component modelling, with a focus that you will seldom
on dynamic behaviour. In compressors, you’ll
find some very good modelling in Slate’s VBC
find on hardware but
series, with harmonic distortions playing an
important role in the Fairchild-influenced
which has become more
FG-MU. For user control, u-he’s Presswerk offers
some excellent features. The Saturation includes
commonplace on plugins. In
both drive (Amount) and compression-
dependent distortion (Dynamics), with a third
essence, it lets you put a limit on
control (Warmth) acting like a tilt filter, with the amount of gain reduction that
higher settings curtailing high-frequency
harshness, much like tape saturation. can be applied. Here on Cytomic’s

08
limiting vs Clipping The Glue, the Range starts at
Compressor plugins sometimes
include output clip or limiter -80dB, which will be unnoticeable.
processing. This can offer a
useful extra flavour or just act as an additional However, with much lower
level safety net. Options range from simple
ceiling level parameters to more complex, fully settings – let’s say -10dB – it can be
fledged processors. DMG Audio’s Compassion,
for example, includes a full clip limiter, with Limit
a useful tool for preventing over-
amount, Release, Ceiling and Drive, plus a
Softness parameter for accurate control of soft A Range parameter is intended to stop
compression of louder elements
clip and soft knee limiting. your signal from getting overcompressed
while still retaining the character

09
peaK/rms you’ve carefully dialled in.
It’s not uncommon for modern
plugins to provide control over
how the detector circuit ‘sees’ the
signal level in the form of both peak and RMS
sensing. In our video, we’re using u-he’s

11
Presswerk, whose RMS Window setting adjusts
the time allowed for sensing the incoming aUto release short. In these circumstances, high-frequency
signal. At its minimum, setting it provides ‘true Setting the release time is crucial to how content should sound subtly crisper and more
peak’ behaviour, meaning the absolute signal a compressor sounds, and it’s easy to defined with oversampling enabled.

13
level triggers compression. As the value is gauge this when working on isolated
increased, a longer portion of the signal is used, elements. For more complex material such as a FeedBaCK vs
measuring the general loudness of the signal – full mix, a release time that works well for, say, FeedForward
settings between 1ms and 5ms work well. the snare drum, may be too aggressive for Modern compressors take their
Increase the value further and Presswerk another element, eg, guitars. An auto – that is, sidechain split directly from the input
begins to exhibit response lag, a bit like an ‘programme dependent’ – option can help here. signal. Since this is done in the digital domain,
optical compressor. In practice, peak sensing This modifies the compressor’s release time on this split creates a clean, exact duplicate, and a
works well when you want to compress hard the fly, to better accommodate both transient- predictable attack and release – unless your
and audibly, or simply want to catch transients – heavy and non-transient-heavy material. It’s a plugin emulates any analogue quirks, of course.
ideal for drums. RMS sensing is far more user- classic feature of SSL-style compressors – This ‘normal’ topology is called ‘feedforward’,
friendly, providing smoother compression for Cytomic’s The Glue is a perfect example – and but there’s another system called ‘feedback’,
vocals, guitars, submixes and whole mixes. some compressors even allow you to modify the where the sidechain signal is sourced after the
specifics of how it works. DMG Audio’s gain control section, ie, from the compressed
Compassion is such an example, with two signal. This technique predates both
release settings, Short and Long, and an feedforward designs and the use of VCA
intensity setting, Timing Scale (0 to 100%). This compressors, and it’s found in many classic units
helps you control which transients – strong such as the FET-based Urei 1176, for example.
(0%), weak (100%) or somewhere in between Both topologies are capable of delivering a
the two – will invoke the slower release time. super-fast response, so lag isn’t an issue. In a

12
feedback design, though, the attack and release
oversampling are influenced by the amount of gain reduction,
The process of upsampling within and most significantly the compression ratio,
plugins isn’t new, but for critical resulting in differently shaped attack and
processing, it can improve clarity. release. For this reason, transient handling can
Realistically, it’s really only worth using when be a little bit more design-specific in feedback
In this video, we’re using Presswerk’s RMS Window you’re dialling in heavy compression, and when compressors, and it’s that flavour we’re often
control to affect what the detection circuit analyses you’ve set the attack and release times fairly after when opting for a classic feedback design.

Autumn 2015 / computer music / 43

> make music now / modern compression

10 modern compressors
With so much to choose from, how do you know which tools are best for your
needs? Here’s our ‘compressed’ buyer’s guide to modern dynamics devices

slate digital dmg audio

Virtual Buss compassion
compressors 166 » 10/10 » £150
An outrageously comprehensive compressor
195 » 10/10 » $149 that offers very deep parameter editing.
This plugin exquisitely models three ‘epic’ buss Experienced users can create practically any
compressors: Focusrite’s Red 3, Fairchild’s all- style of compression, and the preset list is
valve 670, and SSL’s 4000-series compressor. augmented by character presets covering
Added modern twists include output drive and types of hardware and usage scenarios.
high-passing for the sidechain circuits.
www.dmgaudio.com
www.slatedigital.com

meldaproduction iZotope
mmoderncompressor dynamics
N/A » N/A » €49 N/A » N/A » £169
This alternate take on compression technique This processor is actually a module within Ozone
offers dynamic range analysis and target 6, but Advanced-version (£679) users get it as an
dynamic range. This is coupled with more typical individual plugin too. It’s a one-stop shop best
compression settings as well as adjustable look- suited to sub mix and mix bus duties, and with
ahead and onboard sidechain EQ. Your ratio and up to four bands of featureful compression
threshold can be sourced ‘automatically’ from – with various detection modes to choose
this clever processor’s analysis. from – there’s tone shaping aplenty.
www.meldaproduction.com www.izotope.com

ssl FabFilter
X-comp pro-c
124 » 9/10 » £129 119 » 10/10 » £114
This deceptively powerful processor is capable A straight up, no-nonsense compressor/limiter with
of duties from drum reshaping to master bus three main modes (Clean, Classic and Opto), auto
gluing. Key features include dual-point knee release, auto gain make up, and a flexible side chain
shaping, maximum gain reduction and excellent configuration with EQ and individual channel levels.
metering (including gain reduction history). The graphical display’s input, output and the gain
X-Comp’s innovative Bleed feature allows reduction traces help you to understand exactly
frequency dependent parallel processing. what it’s doing, and the interface is slick and easy.
www.solidstatelogic.com www.fabfilter.com

psp audioware u-he

VintageWarmer 2 presswerk
112 » 10/10 » $149 216 » 10/10 » £103
A modern classic, PSP’s tape-saturation infused, u-he’s über-compressor is inspired by the past,
retro-themed processor is actually packed full of bringing classic compressors into the 21st century.
thoroughly contemporary features. There’s Features include feedback, feedforward and
single and multiband modes, flexible knee blended ‘interactive’ modes, alongside adjustable
shaping, oversampling (FAT mode), auto release soft knee, non-linear release and a flexible RMS
and a further brickwall limiter on the output. It window. You also get saturation, comprehensive
comes with MicroWarmer, its leaner incarnation. sidechaining and parallel processing.
www.pspaudioware.com www.u-he.com

Klanghelm tokyo dawn records

dc8c Kotelnikov
196 » 10/10 » €20 N/A » N/A » FREE
It may look simple on load-up, but in Expert This one’ll cost you nothing, but there’s a more
mode, DC8C has oodles of advanced features. advanced ‘Gentleman’s Edition’ available for €40.
Three modes, S-shaped attack and release, and Influenced by their original Feedback Compressor,
adjustable program-dependent release make it options include dual peak and RMS release controls,
great, but things like feedback/feedforward mix stereo sensitivity and sidechain high-pass, with the
control, negative ratios and gain reduction GE version adding two harmonics modes, frequency
smoothing make it an absolute bargain. dependent ratio, and equal-loudness auto makeup.
www.klanghelm.com www.tokyodawn.net

44 / computer music / Autumn 2015

 HOT VIDEOS
ON THE
CHANNEL

subsCribE for:
Exclusive hands-on sessions
with the latest software SynthMaster 2.7: Hands-on
bit.ly/CMSM27Vid

Classic Producer Masterclass

videos from the archives
350+ videos, with more
added regularly!

zplane Elastique Pitch 2: Hands-on

bit.ly/CMEPitch2

A tour of the Computer Music app

bit.ly/CMAppTour

www.youtube.com/ComputerMusicMag
> make music now / modern compression

Serialcompression
Serial compression means using two or more mastering or precision mixing scenario where
compressors in series (ie, one after the other), you need something to sound like it hasn’t been
and it’s a great way to combine the most processed at all!
desirable attributes and/or capabilities of two or The order in which other effects are placed
more compressors. can also make a huge difference to the results.
A practical example would be using a slow For example, reverb placed before compression
acting compressor such as Native Instruments’ can give a source sound that ‘compressed room
Vari Comp, which is modelled on a classic valve mics’ sound, whereas placing the reverb after
design, followed by a more modern compressor the compression will give a less ‘reactive’,
like an SSL clone or digital compressor with studio-style sound, since the reverb itself will
lookahead. By using two complementary units Using EQ before compression affects the compressor’s not be compressed. How about EQ? Boost the
together like this, it’s possible to harness the response; EQ after gives ‘clean’ cuts and boosts bass before compression for a rhythmic
general levelling behaviour and vibe of the first pumping effect that can sound great for kick-
unit alongside the clinical peak control and Using compressors in series also allows you driven music such as house or techno – whereas
clean sound of the second – great for recreating to spread the workload – for instance, instead of a boost placed after will apply ‘clean’ bass boost
the feel of outboard gear in the box whilst one compressor performing 4dB of gain without affecting the compressor’s action. Now
retaining the precision that modern processors reduction, you might use two compressors we’ve whetted your appetite for serial
are renowned for. giving 2dB each. This can be very useful in a processing, let’s see it in action.

> Step by step 3.Serialcompressioninuse

TuTorial
Files

1 2 3
Let’s take a look at serial compression. Open the Vari Comp on our first As the playback loops, compare the
Set your DAW’s BPM to 124 and add HouseMix channel, pull down the mix with five compressors against the
HouseMix.wav onto two tracks – one on preset menu on the top left and select mix with one. Our five-times compressed
bar 1 and one on bar 5. Loop both bars for Show User Preset Folder. Copy mix has given us a cleaner sound and has
playback and load Native Instruments’ HouseMix1db.nifx, HouseMix5db.nifx retained a more dynamic feel. Using
Vari Comp onto each channel (you can and Smooth.nifx into the folder. Next, multiple compressors won’t always give
find a demo at native-instruments.com). load the HouseMix1db preset in Vari better results, of course – it depends on
We’re going to compare five compressors Comp and duplicate the plugin five times. the source material, the settings you use,
giving 1dB of gain reduction, against one Open the second channel’s Vari Comp and and the results you’re aiming for – but it’s a
compressor giving 5dB of gain reduction… load the HouseMix5db preset. great technique to have in your toolbox.

4 5 6
Let’s try serial compression on a drum Let’s fix that using our own excellent Finally, let’s look at how effects used in
mix, this time using two different SunRuysCM plugin – add an instance series with compression can affect the
plugins. Import the other files beginning to the HouseDrums channel after the Vari outcome. Add a KR-Reverb CM (or CMVerb
with “House” files from the Tutorial Files Comp and load the Snap preset (found in if your host isn’t 32-bit-compatible) to the
folder onto bar 9. Add a fresh Vari Comp the Tutorial Files folder). We’ve used second House Mix channel before the
onto the HouseDrums channel, and load gentle compression with a medium Attack VariComp – the overall sound with the
the Smooth preset – although the and fast Release to accentuate the drum reverb first is reminiscent of a compressed
compression has taken the unwanted hits and complement the slower-acting live room recording. Now move the reverb
sharpness away from the drums, there’s Vari Comp, for a sound that’d be hard to so it’s after the compressor, for a cleaner,
not enough snap now. achieve with only one compressor. more spacious sound.

46 / Computer musiC / Autumn 2015

 modern compression / make music now <

P arallel > Step by step 4.Addingbodywithparallelcompression

c ompression
Parallel compression is excellent
for adding density to a sound whilst
retaining transient response in a
way that normal compression
doesn’t. The technique involves
using a (usually, but not always)
hyper-compressed version of the
signal mixed with the original dry
feed, allowing us to increase
average volume but retain the
transient snap of the original
sound. This can be done either by

1 2
using any compressor on an effects Let’s check out parallel compression In the mixer, add a new Return
send/return channel, or with a techniques. In your DAW, import channel. Turn this new Return channel
compressor equipped with a wet/ BreaksLoop.wav from the Tutorial Files down to -15dB, and add a fresh instance of
dry control directly on the channel. folder. You can apply parallel compression SunRuys CM. Send the BreaksLoop
Typically, a parallel compressor either by using a compressor with wet/dry channel to the Return at 0dB. We’re using
will be set to the fastest attack time controls directly on the channel, or by Logic for this, and send/return channels
placing a compressor on an FX send. We’ll may work differently in your DAW, so
and slower release with around be using a send for greater flexibility. consult your manual if you’re not sure
10dB of gain reduction showing at how to do it.
the dry signal’s loudest points.
Adjusting attack/release times and
the ratio can change the feel of the
compression, as can using different
compressor models – the average
bundled DAW compressor will
likely give clean, straightforward
results, whereas something like a
UREI 1176 emulation can add more
‘bite’ and drive.
Additional processing can be
used on a parallel compression
send to shape the sound; examples
include rolling off high frequencies
with a low-pass filter to add bass
weight, or using distortion to give

3 4
Set SunRuys CM’s Attack to its fastest The original audio lacks some density
the whole sound more aggression. setting with the Release at around in high frequencies – we can filter our
You can even set up multiple 60% and a Ratio of 4:1. After this, adjust parallel send to fix this. Add Satson CM
channels of parallel compression, the Threshold to around -15dB until the after the compressor, and set its High
each designed to contribute compressor shows around 10dB of gain Pass to around 2 o’clock. The high
different qualities (eg, snap, body, reduction. The parallel signal is now frequencies are now filled in without
low-end oomph) to your source, heavily compressed – the transient has bloating the lows. Also try turning Satson
and blend them in as needed. been squashed, and the sound of our CM’s saturation on/off with the bottom-
original audio has been thickened. right switch – great for adding character.

> Step by step 5.Makingspecificdrums‘pop’withreverseparallelcompression

1 2 3
Let’s add snap back into a heavily We’re demoing this with a DnB beat, The snare’s “snap” has been squashed,
compressed drum kit using ‘reverse but this technique is good for all however, so let’s blend the dry snare
parallel compression’, where we start with drums, including acoustic. Add a HoRNet back in. Create a new Return channel,
heavy compression and blend Fat-FET to the grouped drums, setting its and send both the Drum Bus and the
uncompressed signals back in as needed. Ratio to 3:1, Threshold to roughly -24dB, DnBSnare track to it. By tweaking the
Open your DAW and import the files Attack to a fast 0.05ms, and its Release send level of the snare track, we can mix in
starting “DnB” from the Tutorial Files to around 70ms. Our drums are now more as much of the unprocessed snare as we
folder. Next, change the output of solid, if a little quieter – apply makeup gain want. You can apply this trick to any
DnBDrums and DnBSnare to group them. with the Output slider to fix this. drums in your mix, not just the snare.

Autumn 2015 / Computer musiC / 47

> make music now / modern compression

Multibandcompression
Multiband compression is a powerful tool that technique for taming the fundamental Multiband compression can also be a winner for
offers incredibly flexible control over a signal’s frequencies of synth bass which carry lots of processing vocal takes – you can compress any
dynamics. Whereas conventional compression energy that can eat up headroom in the mix. overly resonant frequencies whilst using a
acts upon the entire frequency range of a signal, lighter touch on the rest, resulting in a cleaner,
a multiband device allows the user to compress more natural sound than making EQ cuts or
frequency bands individually. using normal compression alone.
Let’s use a three-band compressor as a basic Most multiband compressors offer an
example of how it works: the incoming signal is element of control over the crossover and
split across these bands by adjustable low-pass, compressor behaviour, including digital or
band-pass and high-pass filters similar to those analogue crossover types, and sometimes even
used by a PA system crossover. The signals are selectable compression algorithms that have
routed to individual compressors for tailored differing effects on the compressor’s release.
processing before being recombined into one As with full-bandwidth compression, setting
signal again. the attack and release times correctly can make
This allows us to, for example, compress just all the difference to the overall sound quality;
the low frequencies of a sound without the mid using slower attack and release times on low
or high frequencies being affected – a ninja Waves’ LinMB is a classic multiband compressor plugin frequencies will help avoid distortion.

> Step by step 6.Controllingmixedmaterialwithmultibandcompression

1 2 3
Import the files beginning “Dub” from We could cut this with an EQ, but this Open the plugin and select the
the Tutorial Files folder. We’ll be would also remove the low-frequency three-band compressor preset
using MMultiBandDynamics for this ‘body’ of other drums. By using a from the left. Now, click the Edit button at
walkthrough. You can get a demo version multiband compressor instead, we can the top of the screen to bring up controls
from meldaproduction.com, or adapt dynamically reduce those frequencies for the three bands, and disable Link so
this tutorial to your preferred multiband only when they get too strong, without we can edit the settings of each band
compressor. Now take a listen to the drum removing them altogether. Add an independently. Solo the low band and
track – it’s ready-mixed, but it has too instance of MMultiBandDynamics to the move the crossover frequency until you
much low-frequency content thanks to DubDrums channel. can hear the kick’s low frequencies; we’ve
the kick drum. set ours at 180Hz.

4 5 6
Longer attack and release times can We can use another band on the UnSolo the top band and compress to
help to avoid unwanted distortion MMultiBandComp to control the high reduce the hi-hat’s initial attack –
when compressing low frequencies. The frequencies in the drum stem – ideal for we’ve gone for a Threshold of -33dB and
controls for each band work just like a removing some attack from the overly a Ratio of 3:1. On higher frequencies, we
normal compressor, so set the Attack to sharp hi-hat! Select the top band and solo can use faster Attack and Release times
25ms, Release to 60ms and Ratio to 2:1, it, then set the crossover frequency to than the lower bands without adding
then pull down the Threshold to taste – isolate the attack of the hat without distortion – around 10ms works fine here.
we’ve gone for -21dB to give around 3dB of affecting the midrange too much – about Bypass the unused middle band to ensure
gain reduction. 2.4kHz does the job to our ears. as clean a sound as possible, and to
reduce the CPU load.

48 / Computer musiC / Autumn 2015

 modern compression / make music now <

Mid/sidecompression
Mid/side compression is a technique used by whole sound – this can be great for tweaking
many pro engineers to give increased flexibility loops from sample packs, stems, or even a full
when processing stereo material. By encoding a mix! That said, while M/S compression is a
stereo signal from L/R to M/S, it’s possible to superb tool to have in your processing arsenal,
compress the mono (mid) and stereo (side) do remember that it’s good practice to deal with
elements of the signal independently. Why stereo issues earlier in the process if possible, so
would we want to do this, though? don’t rely on tricks like this to “fix” your mixes –
Typically, a full mix or dense stem in stereo it’s always best to get it right at the source.
will carry most of its energy in the centre of the There are plenty of mid/side-ready
stereo field, meaning that when stereo Not got an M/S-ready compressor? No problem – it’s compressors out there, from ultra-modern jobs
easy to make your own, and it won’t cost you a thing
compression is applied, the whole stereo image like iZotope Ozone 6 to vintage stalwarts like the
is affected when the compressor acts upon the various Fairchild 670 emulations. However, you
loudest parts of the signal. Using a mid/side field without overly affecting a far wider can make your own if needs must, by using a
compressor allows us to apply differing overheads track with crashes on it, for example. mid/side encoder/decoder – Voxengo’s MSED is
amounts of compression to the mid and side We can also use mid/side compression to add excellent and free – alongside an unlinked dual
channels respectively – ideal for compressing an density or control the level of stereo effects such mono compressor such as Vladislav
overly loud kick drum in the centre of the stereo as reverb or delay without overcooking the Goncharov’s Molot, which is also free.

> Step by step 7.Controllingmixelementswithmid/sidecompression

1 2 3
Mid/side compression is a brilliant tool First, we’ll compress the mid channel Let’s also apply some of our multiband
for transforming the dynamics of of the drum stem as the snare is a little compression knowledge from the last
stems or a full mix, giving the producer loud. We could use stereo compression to tutorial. Remove Bands 3 and 4 by right
the power to process the mono and stereo achieve similar gain reduction, but using clicking on them and selecting Remove
elements independently. Let’s get things focussed processing on the mid channel Band. We’ll dial in compression only on
moving – open your DAW and import the will give a cleaner end result with less the upper of our two remaining bands, so
files beginning “Rock” from the Tutorial adverse impact on stereo width and we don’t affect the kick drum’s low-
Files folder. ambience. Load Ozone Dynamics (get frequency punch. Switch to Mid/Side
the demo at izotope.com) onto the mode with the M + S button before
RockDrums channel and open the plugin. selecting the Mid channel.

4 5 6
Now we can sort out our problem Our snare is now much more level Put Ozone Dynamics into M/S mode,
snare. Select Band 2 and set up the with the rest of the drums, but the then hit the Side button on the left.
compressor with a Ratio of 3:1, an Attack guitars sound slightly weedy – they’re Now, set the Ratio to 5:1 and Attack to
of 10ms and Release of 10ms – this’ll distorted, but not in-your-face enough! around 2ms before pulling the Threshold
make the compressor act quickly to match Compressing the Side channel will bring down until you get around 9dB of gain
the pace of the drums. Next, pull the the distortion out but retain space and reduction. Finally, applying makeup
Threshold down until you can hear the clarity in the centre. Add another Ozone gain will bring the overall loudness
snare being pulled back into the mix – Dynamics to the RockGtar channel, and back to the right level – we’ve gone for
we’ve gone for around -17dB. delete bands 2, 3 and 4 to leave us with 9dB to compensate.
plain-old single-band compression.

Autumn 2015 / Computer musiC / 49

> make music now / modern compression

master bus compression technique

Master bus compression is used both when : Do multiband dynamics processors
mixing and mastering tracks, but with so many have a place on the mix bus or mastering
compressor options available in plugin form – chain? If so, what should/shouldn’t they
including a host of classics such as the SSL Bus be used for?
Compressor, API 2500 and Neve 33609 – the DS: “Good question. They certainly shouldn’t be
temptation is to go full-tilt in search of that used as standard practice, and in the mastering
elusive mix ‘glue’ you’ll have heard mentioned. chain, we try and avoid unnecessary crossover
But tread carefully, as bad compression on your filters and so on. Nevertheless, for badly mixed
master mix can’t be undone, and an eagerly set- material where the elements aren’t integrating
up mix compressor may well end up hiding poor properly, and revisiting the mix isn’t an option,
balance decisions as your mix progresses. they can be useful problem solvers.”
To get some clarity on the matter and an
overview on other master dynamics processors : Should I mix with a limiter on the mix bus
such as limiters and multiband processors, we and remove it prior to bouncing out the
chatted to mastering engineer Doug Shearer. master, leaving it ready for mastering?
With an eclectic credit list (Guillemots, Gorillaz, DS: “This one’s easier to answer. Output limiters
Coldplay, Patrick Wolf, The Fall) and time at a can easily be replicated in mastering, so leave What is that
number of the UK’s top facilities, his vinyl cutting them off when you bounce your master. You’ll elusive ‘glue’ that
experience sees him currently working at Andy be able to adjust them more accurately when units like the SSL
Parnell’s Black Saloon Studios. mastering, and can take into account any other bus compressor
mastering changes such as EQ.” provide?
: Is it a good idea to mix with a compressor
on the mix bus? And if so, should it be : What is the master compressor ‘glue’ : Can you suggest some basic settings and
removed before bouncing the final master, effect everyone talks about? set up advice for the master compressor?
with a view to replicating said compressor DS: “The term is a good description of how a DS: The decision is between a higher ratio
when mastering? well set compressor can solidify the mix, (between 4:1 and 10:1) with fast attack, and a
DS: “Compression isn’t a replacement for a good controlling the dynamic range in a way which lower ratio (2:1 to 4:1) with a slower attack but
balance, so get that working first. You’ll then find allows detail to come up, revealing more of the reasonably fast release. The former gives a bit of
that when you add your master bus compressor, interaction between instruments.” bounce to the track and targets peaks such as
it’ll enhance the mix further. If you plan on using drums. The latter enables you to have a deeper
: What makes a good mastering/master threshold and should target the bass, but will
“A good master bus compressor, and is there a difference
between ‘mastering’ compression and what
leave the transients, which the limiter will catch.
For the latter, aim for 2dB gain reduction, and if
compressor design people refer to as ‘bus’ compression?
DS: “A good master compressor design adds
that doesn’t feel like enough, take time to listen
carefully until you notice the difference!”
a nice glue effect while gently compressing in
adds a nice glue effect” a pleasing, characterful way. There’s no : Where should I put the compressor in
difference between mastering and bus the mastering or master bus chain?
a mastering engineer, they’ll probably have a compression as such, although you’d expect DS: “As a rule of thumb, the compressor should
better master compressor and be able to set it a mastering professional to have the very be the final device prior to the limiter, although
up with fresh ears. Remember, excess best-quality devices, and most likely these will for a very dynamic mix, sometimes compressing
compression can’t be undone when mastering.” be hardware.” first can make it more manageable.”

> Step by step 8. mixing into the bus compressor

1 2 3
Here we’re mixing with the bus Set the ratio quite low – 1.5:1 or 2:1 are For uptempo tracks, your release may
compressor on – a technique known good starting points. Make sure you’re hang around 100-200ms. As for the
as “mixing into” the compressor. A good viewing gain reduction on the meters, and attack, avoid getting too fast and
point to start doing this is when you’ve got lower the threshold so that this shows squashing transients – 10ms is a good
a good balance, particularly for transient just a few dB. This is a starting point, and start. Finally, return to the threshold to
elements such as drums, and louder lead you’ll need to revisit the threshold when fine-tune the compressor’s response. You
parts including vocals. Use a compressor adjusting the attack and release, and also can now continue your mix, mixing “into”
that suits the music. If it’s uptempo or throughout the mix process. Now set the the compressor – but remember to adjust
punchy, use a responsive VCA; for gentler release time to match the feel of the track, the input level or threshold if mix levels
material, try a valve or optical model. or use auto release. drift upwards.

50 / computer music / Autumn 2015

 modern compression / make music now <

master bus compression

12. mix bus
9. multiband mastering sidechaining
As we showed you earlier, multiband
compressors can be useful when dealing
video, we’ve compressed the two lower bands
slightly and adjusted the overall gain of the high
For commercial pop
with ‘ready-mixed’ content like drum loops. band upwards for a gentle treble lift. They’re and club tracks, try
subtle changes, and if you have the option, it’s
However, they should be approached with
particular care when used on the master bus. often better to revisit elements in the mix itself sidechain compression
If you do use one, familiarise yourself with rather than ‘fix’ them this way. across the master bus
precisely what they’re doing and how.
For example, Ozone’s Multiband Dynamics
plugin defaults to its maximum of four bands,
but you can use just two or three bands for
cleaner results. Each band can be bypassed,
soloed and its crossover points adjusted. There’s
a separate limiter and compressor per band,
with gain and mix blend for parallel processing.
Across the mix, the best way to use a multiband
compressor is for gently reshaping the overall
balance. In the picture and in the accompanying

1
On the master bus, load a
10. analogue models compressor with flexible attack/
release, and external sidechaining –
Hardware compressors were sometimes harmonic distortions. The outcome is more here we’re using The Glue. Set the
used with the compression practically subtle than FG-MU, but there’s a definite additive Attack and Release to medium
settings – here 1ms and 400ms
disabled, just for the sonic signature of the unit’s effect even with no compression.
respectively – and the Ratio to a
circuitry. You can do this in software too, and it typical mix bus setting, here 4:1.
simply boils down to picking the right plugin
and understanding what it will do to your audio
without any major compression activity.
Here we have two slightly different examples,
both from Slate Digital’s outstanding analogue-
modelled Virtual Bus Compressors. First up,
FG-MU. Simply loading this Fairchild-inspired
virtual valve compressor adds top-end sparkle
to the mix, and by increasing the input gain just
a little, we can emphasise this even more.
Our second example is FG-RED. Its dedicated
drive control adds predominantly second- You needn’t even touch the dial to get classic flavours

2
Now set up a dedicated sidechain
track, allowing more flexibility.
11. loudness limiters Here we’re using a programmed kick
drum with a regular 4/4 pattern. Route
this signal to the compressor’s
Maximisers are excellent processors for various modes on offer to see which works best. sidechain, and set its Threshold
both sub mixes and the stereo bus, but they On the master, we can use our maximiser for accordingly. Here, we’re only metering
can be used for more than just making another useful job. You’ll notice that although a few dB of gain reduction.
mixdowns as as loud as possible. In our our main output meter looks OK, a more
example, we’re using Ozone’s Maximizer both specialist level meter shows inter-sample peaks
on a drum sub group and on the mix bus. over zero. This means that although the digital
On the sub group, we’re looking to just curtail signal is limited, there is the potential for further
the transient peaks, and by using reasonably peak distortion when converted to an analogue
fast settings throughout, we can just nip those signal at the DA converter. By using the true
transients. We can see this on the gain reduction peak limiting option on our maximiser, these
trace at the top. This means our master limiter can be minimised, leaving us with a nice clean,
has less work to do. It’s also worth trying the problem-free master file.

3
Finesse the Attack and Release
settings. With this compressor, we
can use a fast Attack for a tighter effect.
A maximiser Fast Release settings give us more
isn’t just for audible pumping, and slower Release
your master times create a gentler, gluing effect.
bus, as we Finally, edit the sidechain signal to only
show here play where you need it.

Autumn 2015 / computer music / 51

> make music now / modern compression

> Step by step 13. diy custom compression with sidechain processing

1 2 3
We can create a custom compression To keep things simple and assess the We can EQ the sidechain to make
response by manipulating an external results solely on the changes made, compression more or less dependent
sidechain signal with EQ, limiting, use a clean, uncoloured compressor. on any frequency. On this full mix, the
delay, distortion and more. Some of these We’re using DMG’s Compassion, but you kick is driving the compressor too much.
are more effective or useful than others, can follow along with any straightforward, To notch the kick drum from the sidechain
but understanding how and why they clean compressor with an external signal, insert an EQ and hunt for the key
work can really help you understand the sidechain input – most DAWs include one. frequencies – here 55Hz and 86Hz – and
science behind compressors, even if you Duplicate your main audio onto a new adjust the compressor threshold as
end up using plugins with these features track, and use the copy as a sidechain required. You’ll notice this approach is
already incorporated. Load up drums.wav signal. We’ll place effects on the copied more focussed than simply using a high-
to get started. track to modify the sidechain. pass filter on the side chain.

4 5 6
The famous LA-2A hardware How about a DIY ‘range’ control? Load We can make our own customisable
compressor’s R37 emphasis filter up a gain plugin followed by a lookahead circuit by moving the
gradually reduces the low frequency brickwall limiter for the sidechain sidechain audio forward, earlier in
content of the sidechain, and compression (here we’re using ToneBoosters’ Barricade time. Starting with a few milliseconds, the
effectively becomes progressively more CM), and set a nominal threshold for your difference isn’t that obvious, although
sensitive to high frequencies. Load up an main compressor. Adjust the limiter’s arguably the transients are cleaner. Get to
EQ on the sidechain and use a low-shelf ceiling, setting the max gain reduction, 30ms and beyond, and the release stage
cut – here, we’ve set this at 275Hz. Now then gradually increase the gain plugin begins to feel too early. Adding in a hold
adjust the cut amount to emulate the and/or limiter input. The compressor’s time to match can help, but the
emphasis control. gain reduction will hit a maximum, with compression can still sound slightly out of
further input level making little difference. place overall, so exercise caution.

7 8 9
Rather than delaying the main audio Extreme waveshaping, when used as a Editing the sidechain signal directly
to create a lookahead, try delaying the sidechain, can have a profound impact allows more specific compression
sidechain for a lagged response. Start with on compression. Add Waveshaper CM and effects. Here we’ve chopped up our kit mix
a few milliseconds, then gradually dial in a curve as shown for an almost to leave just the kicks and snares on the
increase the time. Initially you’ll hear the gated sidechain, but with far more high- main beats. This nails the transients, and a
transients overshooting, then the signal frequency content than our original nice byproduct is the exaggerated sucking
starts to pump and lurch as the delay gets source drums. The resulting compression in the gaps between the sidechain audio.
too long (which was happening by about really nails the transients in our drum mix, Or try it the other way around, removing
40ms and beyond for our drum kit). giving a retro compressor pumping feel. the main transients from the sidechain, to
You can get very creative here. allow them to punch through cleanly.

52 / computer music / Autumn 2015

Next issue
223 ON SALE
Wednesday
7 ocTober

Drum& Bass
featuring Track-Builder
> BreAk
> keeNo Watch four DnB masters at work, then WITH
> LyNx
build a massive neurofunk banger with VIDEO
our step-by-step track-building masterclass for every
> ChromAtiC TuTorIal

PLUS! How plugins are made / music THeory: THe Tonic-dominanT relaTionsHip /
producer masTerclass: dirTy vegas / How To use sylenTH1 / and more

download
free pc/mac pLUGIN

Grooove cm
powerful drum instrument from brunsandspork,
packed with 50 kits and tons of features!

free sampLe pack

DnB sampLes
1gB of sounds from the biggest label in
sampling, all created by 20 top dnB artists!

REVIEWS HaRRISon MIxbUS 3 / SUgaR bytES obScURIUM / SKnotE SoUndbRIgadE / PHotoSoUndER

SPIRaL / aUdIffEx Sta EffEctS bUndLE / KLEVgRand EnKL / EaStWESt PRodRUMMER / and MoRE
All magazine and download contents subject to change

Autumn 2015 / compUter mUsIc / 53

 Producer Masterclass

WILL CLARKE
The booty house wiz demonstrates
the techniques behind his booming
beats and intense yet minimal music

Autumn 2015 / ComputER musIC / 57

> make music now / producer masterclass

Up ’n’ coming bass house boss Will

Clarke’s profile has been growing
steadily over the past few years. His style
combines deep and tech house sounds
with the minimal madness of harder-
edged genres like booty house, giving
his music a unique flavour and catching
the ears of label bosses such as Selected kit list
Whartone’s Sonny Wharton and
HARDWARE
Dirtybird’s Claude VonStroke. We caught Apple iMac
up with Will in his studio to discover just Focusrite Saffire 4
how he makes his rump-shaking tracks, ADAM A7X x2
and to discuss the controversial issue of Mackie Big Knob
Korg Volca Beats
ghost production.
Moog Sub 37
“I’ve only [ghost produced] two or three Native Instruments Maschine
times, and it was for people that were either Roland MC-303
too busy or lived very far away and would Roland VT-3
rather I just did something for them,” Will
elucidates. “They’d give me a brief and I’d SOFTWARE
Ableton Live 9
do something for them. I like having people Apple Logic Pro X
in the studio if I’m writing for them. I Native Instruments
understand why people [use ghost Maschine Studio
producers], but I don’t necessarily agree Sonalksis plugins
with it, and that’s why I very rarely do it. Soundtoys plugins
TAL plugins
“When I engineer for people, I get them
to come down for a couple of days – I think

“The studio is such an fucking hated. It was alright though – they day long on a Wednesday, Thursday,
were happy. I’ve done one that’s like a deep Saturday and Sunday, and evenings
inspirational place; house, garagey vibe. You can link these
styles to my sound – apart from EDM – but I
throughout the rest of the week. On those
days, I’ll make sure I’m in here from ten
I’m really lucky to don’t really like doing it. I know a lot people
who have tracks ghost written; it’s a massive
o’clock on the morning until whenever. I’ll at
least write three or four ideas in a day if I’m

have a room like this” part of the industry... it always has been.”
Part of the reason Will is less than
not working on a track. I learnt this from one
of my good mates ZDS, Zombie Disco Squad
enamoured with ghost producing is due to – he just writes an hour on an idea and will
the creative process is about the the importance of environment and just let it go and then start another one.
relationship between you and the other workflow to his creative process. “You might have an idea that sounds
producer. I like going for dinner, chilling, “The studio is such an inspirational place; fucking amazing for a 30-second loop, and
going for a drink or a walk around and to I’m really lucky to have a room like this. It’s then you’re like, ‘it sounds really good, but
build the relationship up and get a vibe. worth working an extra ten hours a week to how the hell am I going to make that into a
“When you’re ghost producing, it’s your pay for rent, to have a room where you can track?’ That’s when I’d step away, maybe
interpretation of what they want, which sit and say, ‘I fucking love this place.’ I’m out write something else, get some food, go see
doesn’t always work. I wouldn’t ever ghost in the middle of nowhere, and I can write at some friends, go to the gym, whatever. Just
produce for somebody that writes my style six in the morning or whenever I feel like it. give yourself the space in your head to get
of music, because I’d just be writing a track “For me, routine is also a massive thing. some inspiration.”
for me. I’d rather write that track for myself Setting yourself days where you have to In this exclusive tutorial, Will shows us
than somebody who wanted to do what I’m produce, you come up with ideas because how he made his stripped-back club banger
doing! I’ve done one EDM-y track which I you have to produce something. I work all 808 Frenzy on Apple Logic Pro X.

VIdEo
mAstERCLAss
See Will Clarke
deconstructing his
tune 808 Frenzy in
Apple Logic Pro X, in this
in-studio masterclass
video. Watch it now at
bit.ly/CMWillClarkePM

58 / ComputER musIC / Autumn 2015

 producer masterclass / make music now <

Percussion with maschine

and TaL-reverb
22:31 Will wants to enhance the track’s groove
with the addition of some abstract
percussion sounds, so he calls in Maschine again and
selects a couple of crazy sounds using the ‘one-shot’
making, compressing and eQing beats search filter. To add a touch of ambience to these
sounds, Will uses TAL-Reverb II (a free download from

00:44 Usually, Will begins his tracks with

a hook like a vocal, but the idea
behind 808 Frenzy is to use predominantly
with Sonalksis’ SV-315 Mk2 Compressor.
The track’s closed hat comes from
Maschine’s Roland TR-909 sounds, and Will uses
tal-software.com), and automates the Wet level to
bring the effect in at strategic moments. To prevent
these sounds from dominating the mix, Will uses
Roland TR-808 sounds, so he starts by laying Logic’s EQ to high-pass them at 670Hz with a Logic’s Channel EQ to high-pass them.
down a 4/4 808 kick drum part in Native 48dB slope, and take out a ringing frequency at
Instruments’ Maschine. The kick is from 7kHz to prevent it from sounding too harsh. The
Maschine’s library, and Will uses the plugin’s drag hat is also compressed with the SV-315 Mk2
and drop export capability to put the sequence Compressor to make it sound snappy and tight.
onto one of Logic’s audio tracks. Logic’s Channel The 808-style clap is also taken from Maschine’s
EQ is used to take out a little of the kick’s ample factory presets, and is high-passed and
sub frequencies, and its dynamic range is reduced compressed to fit it into the mix.

FX from eXS24 with

“808 Frenzy’s bass sound is Decapitator, Sample
actually a tom sampled from Delay and echoBoy
Will’s Korg Volca Beats” 31:36 To add some interest later in the
track, Will calls in Logic’s EXS24
synth to generate some ghetto-style FX. The
patch is based around a sine wave oscillator
with a rising pitch, played back on C3 and C4.
Bass with maschine EXS24’s Fat mode is activated to warm up the
sound, with the Drive automated to modulate
and Decapitator the timbre and intensity of the sound. The
filter’s cutoff is active, preventing any really

03:59 808 Frenzy’s bass sound is

actually a tom sampled from
Will’s Korg Volca Beats, which he loads into
high harmonics from being present in the
signal. Decapitator is applied to make the sound
grittier, and its Drive level is also modulated.
Maschine and plays back at different pitches to The signal is then run through Logic’s Stereo
create a bassline. He drags each note of the Delay to widen it, before Soundtoys’ EchoBoys
bassline onto its own audio track so that they adds an eighth-note delay. The EchoBoys’ Mix is
can be processed separately. The highest tom is automated to bring it in gradually for a big,
EQed to take out the sub and boost the mids to club-filling effect.
prevent it from clashing with the kick; the mid
tom has its lows boosted; the second mid tom
has its sub cut and mids boosted; and the low
tom has its sub boosted and is distorted with
Soundtoys’ Decapitator to add grit. All the toms
are also run through the SV-315 Mk2
Compressor to make their tails louder.
Hear more

Vocals with Crystallizer

14:13 To add a bit of flavour, Will brings in a
choppy vocal sample from an early
Noughties sample library, which he re-arranges to
atmosphere during the breakdown, Will adds
Soundtoys’ Crystallizer to the vocal channel and
automates its Mix and Pitch parameters, for
fit with the track’s groove. To create a weird an abstract cascade of reversed echoes.
The Boogie Woogie
bit.ly/WCboogie
The Goog
bit.ly/WCthegoog

WWW

www.djwillclarke.com

soundcloud.com/djwillclarke

twitter.com/djwillclarke

facebook.com/willclarkedj

Autumn 2015 / ComputER musIC / 59

 synth fx / make music now <

SYNTH

Pump up your sounds to epic proportions

with our guide to processing synths like a
pro – bigger, bolder and better than ever!
The synthesiser has shaped and starting points are widely discussed for controls, but apply the final
guided the course of modern more ‘predictable’ instruments, it’s bit of polish in the mix. Other
music, giving the musician a more hard to know where to start with a times you may wish to
versatile palette of sounds than sound you’ve built entirely from completely sculpt a simple
could ever be generated using scratch. Synthesised sounds often synth sound with pro-
traditional instruments. A guitar will contain a broad spread of frequencies standard insert effects.
always sound like a guitar to some and harmonics, making them tough to So, to illustrate the wide
degree, but a synthesised tone can slot in the mix alongside other range of results that synth download
turn from low, rumbling bass to elements. More harmonically-simple processing can produce, Get the plugins, files and the
accompanying videos from
soaring lead melody with just a few synth sounds can respond to we’re going to use tools from vault.computermusic.co.uk

adjustments. When armed with treatments such as distortion in myriad the Plugins collection to
only a basic synth and a decent ways, with the slightest parameter process synth sounds in a
knowledge of synthesis techniques, adjustment transforming the original multitude of useful ways. Head to
an almost limitless array of tones, sound entirely. vault.computermusic.co.uk and
textures and timbres can be crafted. Luckily, synth processing is one of register this issue to download all
However, this overwhelming the most fun and creative adventures a the necessary tutorial files and videos
versatility can make the task of synth computer musician can embark upon. you need to follow along – as well as all
processing a difficult one; while You could spend the majority of your the plugins that are featured in
processing guidelines and typical time perfecting a sound via the synth’s this tutorial.

Autumn 2015 / Computer musiC / 61

> make music now / synth fx

> Step by step 1.Shapingasimplesynthsoundwithsaturation Warmitup

Distortion – overloading a signal
through a circuit to produce
additional harmonics – goes
hand-in-hand with the iconic
synth sounds we’re familiar with
from the ‘golden age’ of
synthesiser music. Before
computers and digital audio
were the norm, hardware synths
were run through analogue
preamps, outboard compressors
and various circuits before being
printed onto analogue tape.
These stages all added subtle
non-linearities and musical

1 2
Let’s explore how saturation can Preamp-style distortion plugins are ‘inconsistency’ to the overall
transform a basic sine wave synth ideal for adding harmonics to a pure signal, giving us a sense of
sound. Load Dune CM on a new MIDI sine bass. Here’s Kuassa’s PreMix CM with analogue colour and ‘warmth’.
track, click on Patch » Load Patch, and its input Gain at 22dB, and Output at In contrast, modern digital and
load Sine.fxp from the Tutorial Files. -5dB. This gentle saturation adds subtle
plugin synths are mathematically
Drop BassRiff.mid on the channel, then harmonics to the sine, while aggressive
send the track to some high-passed settings will have a more pronounced ‘perfect’ and often lack the
‘performance’ reverb like CM Verb, just to effect. Load a frequency analyser to see pleasing inconsistency of the
give it a touch of life and spaciousness. the change PreMix CM is making. warm synth sounds we’re used to
hearing – hence many believing
that digitised synth sounds are
‘cold’ and ‘sterile’. Luckily,
saturation, overdrive and
distortion plugins can emulate
analogue warmth and drive
stages – check out our own
Satson CM, STA Enhancer CM
and 6X-500 CM for great
examples of warmth plugins
that you can try today.
When taken to greater
extremes, distortion can add
excessive harmonics and
massively alter a signal’s

3 4
Load Two Sines.fxp – the previous Let’s exacerbate the gritty distortion waveform, intrinsically shaping
patch with an added sine an octave by mixing in a tiny amount of white the sound as much as any
above the first – in Dune CM. Now open noise. In Dune CM, set the Noise Colour to parameter on the synth itself
PreMix CM and load Heavy Distort.fxp 75% and Noise Level to no more than 3%. can. Be sure to experiment
(or program as above). The static bass This extra layer gives the sine an added
with shaping your own distorted
sounds plain, so detune Osc 1 and Osc 2’s touch of fizz and grit when distorted, even
Fine knobs in equal opposing directions. though the patch sounds terrible when we synth sounds – we’ll explore a
This oscillator ‘beating’ interacts with the bypass the drive. Distorting sines isn’t just couple of techniques in this
intense saturation to create constantly for bass – try higher notes with more page’s tutorials.
pulsing, moving distortion. reverb added to see what it sounds like.

> Step by step 2.Spicingupsynthswithparalleldistortionandbitcrushing

1 2 3
Parallel processing involves treating a We could send the synth channel’s Neither the processed nor
signal alongside an unprocessed signal to a return track for processing, unprocessed copies sound especially
version. To demonstrate it, we’ll use some but instead, we’ll duplicate the whole great in isolation, but they merge to create
plain, percussive chords from our channel and process that. Load CrossDr a characterful ‘3D’ timbre. Bus the two
excellent Einklang CM synth – here we’ve CM onto the copied channel, hit the preset layers to a single channel before applying
rendered them to audio for simplicity. menu’s folder icon and load CM Synth Wolfram CM’s Delay » CM Chorus Ping
Load Einklang Chords.wav and Top.fxp. This preset uses CrossDr CM’s Pong preset for lush, rhythmic delay. You
BackingTrack.wav onto new tracks in a top band of effects to distort, ‘warp’ and can also alter CrossDr CM’s Warp and
130bpm project in any DAW. bitcrush the synth for a plucky, fuzzy layer. Crush amounts for timbral variation.

62 / Computer musiC / Autumn 2015

 synth fx / make music now <

‘Stereoising’synths
Many synthesisers have dedicated widening of your mix before adding additional width
features, oscillator ‘width’, unison spread and using considered plugin processing – either
other onboard stereo effects. It’s clear these delicately over the original signal with insert
effects are designed to sound impressive when effects, or in parallel on a separate channel.
cranked, but this often comes at the expense of This way, you can dial in the exact amount of
mono compatibility, making these exaggerated width required, safe in the knowledge that
sounds difficult to slot in a mix effectively. When your fundamental sound will remain solid and
summed to mono, they’ll often exhibit excessive sturdy within the mono part of your track.
phase cancellation, meaning the entire sound Throughout the following tutorial, we’re
can drop in level (or disappear completely) going to explore a handful of ways you can
when your track is played back through a mono widen narrow synth sounds using the plugins
playback system such as those clubs, mono provided with this magazine. One thing to note:
radios, phones and other important devices. So there’s nothing more disheartening than getting Have a mono-summing plugin ready at all times
at the very least, you’ll want your core synth three quarters of the way through a track, only
elements such as leads and bass to have a to find your mix balance sounds completely off collapsed like this. While our Plugins
strong central presence in the mix. when summed to mono, so be sure to use a collection doesn’t feature such a plugin (yet!),
One way to avoid your key synth sounds mono-summing plugin on your master channel Alex Hilton’s A1 StereoControl is a great free
disappearing in mono is to begin with a synth at all stages of the production process, to check option for both PC and Mac users – get it from
sound that’s already placed firmly in the centre the relative levels of your parts when the mix is www.alexhilton.net.

> Step by step 3.StereoisingnarrowsynthswithPlugins

1 2 3
While many synths feature inbuilt One speedy way to ‘stereoise’ a mono Auto-panning can gently move a
widening features, it’s often useful to signal is using JST and Boz Digital synth around the stereo field – an
begin with a mono synth sound before Labs’ SideWidener, which can add effect we can apply using Wolfram CM’s
adding width with choice plugin pseudo width to a narrow source while modulation routing. Call up a fresh
processing. Let’s use Plugins to maintaining mono compatibility. Load it as instance (after deleting SideWidener),
explore some synth widening techniques: an insert on the synth channel, then crank then head to the Patchbay. Set LFO1 as the
drop Synth Riff.wav – an arpeggiated riff up the Width; choose from three different source and Manipulator 1 » Pan as the
that’s mono and narrow – and Drums.wav widening algorithms, and pull the Tone destination. Turn up the Amount, and LFO
onto new audio tracks in a 127bpm project. knob left to centre the widened signal 1 will pan the signal at a rate set by the R1
around midrange frequencies. knob at the plugin’s top.

4 5 6
Short stereo delay is another tried- Now let’s explore the use of short By loading plugins before Reverberate
and-tested widening technique. In reverb. Delete Wolfram CM, then send CM on the return track’s plugin chain,
Wolfram CM, turn off Manipulator 1 and the synth channel to a return track (by we can alter the signal entering the reverb
turn the Filter + Delay section on. The -6dB) containing an instance of and modify the widening effect. Load a
resulting delay effect is mono by default, LiquidSonics’ Reverberate CM. Load the new Wolfram CM before Reverberate CM,
but the Offset parameter separates the 14: Basement Wide preset, then set the then crank Modulator 1’s Pitch to its max.
left and right delays times – raise it just a plugin to fully Wet. By setting the This transposes the incoming signal up an
touch to instantly spread them out. Set Envelope Shape’s Hold to around 0.003s, octave before it hits the reverb for a
Feedback to 0, Time to 50ms and the we create an extremely short stereo layer. pitched widening effect. Set Wolfram CM’s
Mix to taste. Experiment to find settings Raise the IR Gain to -10dB to hear this Mix to halfway to blend the original,
that work well in both stereo and mono. more clearly. unpitched signal back in.

Autumn 2015 / Computer musiC / 63

> make music now / synth fx

> Step by step 4.UsingPluginstoemulatesynthesisfeatures

1 2 3
A synthesised or sampled sound is Dry synth sounds are usually stark We can replicate oscillator pulse width
usually shaped and sculpted within and unnatural, so let’s set up some modulation with clever waveshaping.
the device itself, but how about instead subtle, short reverb before we begin Insert WaveShaper CM, then set the
using effects plugins to mimic synthesis shaping this sawtooth sound. Create a oscilloscope to Fixed - 30Hz. Select the
and sampling techniques? This approach return track in your DAW, load Acon square wave preset on the left, and drag
can result in sounds you wouldn’t Digital’s CM Verb, then deactivate the Dry the node until the upward line is vertical
otherwise get. Begin in a blank project in level button (so we’re only getting the wet against the grid. This transforms the
your preferred DAW. Fire up an instance of reverb signal). Send Dune CM to this sawtooth wave, causing the plugin to
Dune CM on a new MIDI or Instrument return by 0dB amount, and set the output a constant level when the input is
channel, hit its Bank B button to initialise Reverb Time shorter than 0.55. hot enough, otherwise remaining ‘off’ – we
the synth, then load Riff.mid on its track. can use this to create a pulse wave.

4 5 6
By using a tremolo (ie, volume Detuning multiple oscillators within a Wolfram CM’s output is lower by
modulation) effect to push the signal synth is great for adding thickness and default, so raise the main Out knob
into the waveshaping ‘circuit’, we can depth, so let’s replicate this process with slightly to balance this second Dune CM to
emulate the effect of pulse width Wolfram CM’s pitchshifting capabilities. the same level as the first, then use
modulation. Drop Wolfram CM before Duplicate the synth’s MIDI channel (so we Manipulator 1’s Pitch knob to tune it.
WaveShaper CM, turn its main Out up to now have two identical instances of Dune Wolfram CM’s knobs aren’t labelled with
maximum, then turn to the patchbay. CM – or two ‘oscillators’), then load a new specific values, so audition the effect
Assign LFO1 as the source, and the Wolfram CM on the second copy, after the alongside the un-pitched copy until we hit
Output Gain as the destination. We need WaveShaper CM. the ‘sweet spot’ (around 10-11 o’clock)
more level going into WaveShaper CM. where the two detuned ‘oscillators’ create
the familiar beating sound.

7 8 9
Group the two Dune CM channels to A synth’s amplitude envelope is Synths often feature additional
process their summed signal further. usually used to shape its volume distortion, tone-shaping and/or
We want the group output, rather than the response over time – an effect we can excitement stages, so let’s heat up the
individual channels, sent to the reverb, so replicate somewhat with compression. sound further with Audiffex’s recently-
turn down each Dune CM channel’s send Load eaReckon’s CM-COMP 87 next in the updated STA Enhancer CM. Load a new
amount to minimum before sending the chain, set Threshold to -24dB, Ratio to 5:1 instance on the group, set Low Process to
overall group to the reverb. To get some and Attack to around 300ms. This around 40%, High Process to around
synth-style overdrive, add Lindell Audio’s compression is pulling down the synth 60%, Saturation to 0% and Mode to
6X-500 CM to the group: push Gain to 8 sound’s tail but letting the attack through. Lo-Fi to finish off our sound, entirely
and pull back the Output to 2. sculpted with Plugins!

64 / Computer musiC / Autumn 2015

 synth fx / make music now <

> Step by step 5.‘Trance-gating’apadwithG8CM’sMIDIInput

1 2 3
Let’s create the classic ‘trance gate’ Create a second MIDI track (which Raise G8 CM’s Threshold to 0dB, then
effect with Plugins. Begin by we’ll name ‘Trigger’), then route its pull down the Hold parameter. The
calling up Alpha CM’s PAD-ModTrem-TC output into G8 CM’s MIDI Input. As you can gate opens when a C3 note is played, for
preset on a new MIDI track, then trigger see on G8 CM’s bottom strip, the plugin is as long as that note is sustained, chopping
the synth with Chords.mid. We’re going to currently ‘listening’ to C3 notes, so the sustained pad into rhythmic chunks.
use a MIDI-triggered gate plugin to chop program C3 notes on the channel – we’ve Tweak note lengths in conjunction with
this sustained sound: insert Unfiltered drawn a rhythmic pattern of eighth- and Hold and Release times to fine-tune the
Audio’s ace G8 CM after the synth plugin. 16th-notes into a MIDI clip (again, you can ‘choppiness’ of the effect, and use spatial
find this file in the Tutorial Files). effects (such as our own CM Verb) to
spice up the dry sound and add ambience.

> Step by step 6.SynthglitchingwithPlugins Glitchmob

‘Glitch’ edits can be thought of as
effects that emulate
malfunctioning equipment –
imagine the effect of a CD
skipping as an example. They’re
commonplace in the world of
electronic music. While drums
and vocals are most commonly
chopped and rearranged to
create glitch FX, the synthetic,
futuristic nature of synths
also makes them prime
candidates for a spot of eccentric
stuttering and mangling.
As you’ll see in our ‘synth
glitching’ tutorial, buffer plugins

1 2
We’re going to create glitchy edits Eurydice CM’s input-‘sampling’ and such as Eurydice CM will take an
by creatively stuttering and mangling retriggering buffer module is great for input signal and repeat chunks at
a synth loop. Begin by loading Synth stuttering repeats and edits. Open the
To Glitch.wav and Break.wav on new CM_BufferOnly preset, and turn the
a user-defined speed and pitch,
audio tracks in a 128bpm project, then Output Gain down to -2.3dB. Sweep the automatically chopping and
insert Inear Display’s Eurydice CM on Buffer’s Size and Repeats parameters to rearranging whatever you throw
the synth track. catch and repeat chunks of the input into it. Effects like this can spit
signal; Ratio alters the repeats’ speed and out random results that can’t
direction for turntable-style effects. always be reproduced precisely
with automation, so it’s advised
to record these kind of edits to a
new audio file, ensuring the same
‘stutter’ section will play back
each and every time.
Once a signal’s been
automatically carved up with a
plugin, true glitch masters will
usually get to work editing the
resulting chunks of audio
manually on the DAW timeline.
This approach gives you
pinpoint precision over each
segment of an audio region, and
all DAWs give you plenty of tools

3 4
Automation is ideal for restrained edit Finally, we’ll use RP-Distort CM’s effect (such as slice/scissors,
effects, but you may get more creative modules to widen, high-pass and gate timestretch, copy/paste and
results by recording your live tweaking to the ‘edit’ channel further. Leave the Widen
more) that facilitate razor-sharp
a new audio file. Route the synth’s output module at its default active setting, set the
to the input of an audio track, and record Filter section’s High-pass cutoff to 250Hz, audio incisions, rearranging and
your Buffer tweaks in live. Now bypass then activate the Gate module and adjust glitch programming.
Eurydice CM, chop and rearrange the best its Threshold to shorten the stutters.
stutter sections, then chop gaps in the Automate parameters (including bypass)
original riff to accommodate the edits. to customise the effect further.

Autumn 2015 / Computer musiC / 65

BaCk issues
Catch up on what you’ve missed – all of
these issues include Vault downloads!

Issue 221 Issue 220 Issue 219 Issue 218 Issue 217 Issue 216
October 2015 September 2015 August 2015 July 2015 June 2015 May 2015
• Instant Inspiration: get • Perfect Pitch: Shift, tune • Sidechain Secrets: pro • Virtual Vintage: emulate • Rack Builder: 18 devices • FM Synth Power: The art
tracks finished with our and harmonise like a pro tricks for better mixes classic hardware units to create from scratch & science of FM synthesis
creativity masterclass • FREE pitch-correction • FREE compressor plugin • FREE chiptune synth and • FREE Bass Engine CM • FREE Vengeance-Sound
• Multiband distortion AU/ and harmonising plugin • Treble Tweaks / How to retro preamp plugin VST/AU plugin Scope analyser plugin
VST plugin for FREE • Studio One 3 / Melody use Saturn / 808 Kicks • Tubes ’n’ Tape / Build an • Plugin Basics / Iris 2 • The Drop how-to / Cubase
• 10 Weird Tricks / Serum writing /Kontakt tricks • Paul van Dyk interview 8-bit track / NI Monark how-to / Synth Snares Pro 8 guide / Techno Tips
How-to / DLR video • KSP masterclass video* • Neonlight in-studio vid* • Sonny Wharton video* • Los Suruba masterclass* • Dead Man’s Chest video*

Issue 215 Issue 214 Issue 213 Issue 212 Issue 211 Issue 210
April 2015 March 2015 February 2015 January 2015 December 2014 November 2014
• Modern EQ: boost your • Ultimate Freeware: Free • Sound Design 2015 – • Modern Mastering – • Modular Synthesis & • Top-secret mixing
mixing skills for 2015 plugin tutorials + guides! Craft awesome sounds! louder, clearer, better! FX masterclass techniques illuminated
• FREE Stereoiser plugin • FREE Beat Machine CM + • FREE G8 CM gate plugin • FREE guitar amp plugin • FREE XILS 3 CM synth! • Classic mixing with
• Make mono stereo / CPU DrumShaper plugins • How to use Ozone 6 / • How to use Massive • Performing with Live UAD / LFO Magic /
tips / Ohmicide how-to • DnB Track-builder / Killer Wavetable Wizardry • Richie Hawtin interview / Percussion Essentials Piano Roll Primer
• 28 reviews inc. Sonar Guitars / How to: Synth1 • Serum + more reviews • Ozone 6 + more reviews • Horrorscapes samples • FREE arpeggiator
• My Digital Enemy video* • Break masterclass video* • Tough Love in the studio* • Brodanse in the studio* • Technimatic studio vid* • Matta in-studio video*

*Producer Masterclass in-studio videos only available with Apple Newsstand and print editions prior to issue 221

more BaCk
issues
aVaiLaBLe
Vault downloads available only from 182 onwards. See bit.ly/cmvaultfaq.
60 / Computer musiC / August 2013
HOW TO USE…

TURNADO Get blown away by the possibilities of

Sugar Bytes’ hands-on multieffect with
the aid of our whirlwind feature tour
German music software developers Sugar the Main knob on all parameters and
Bytes are renowned for, amongst other modulation controls; while the ingenious
things, their brilliantly designed multieffects Dictator lets you design custom Main knob
plugins, perhaps the most innovative of motion sequences for macro-level command of
which is the mighty Turnado. the whole plugin from a single fader.
Available in plugin and standalone versions Turnado should be at the very top of any
for Mac and PC, and an identical Inter-App Audio laptop or iPad live performer’s plugins list, but
and Audiobus-compatible app for iPad, Turnado it’s wholly effective in the studio, too, where its
successfully boils control of a bank of eight satisfyingly tactile control concept and
effects modules – each chosen from a list of 24 – imaginative panoply of effects modules come
down to a single Main knob for each one, the together to deliver all manner of unique
idea being to assign them all to the knobs on a electronic sound design possibilities and
DOwNlOAD MIDI controller for a truly hands-on approach to endless experimental opportunities.
See it in action in video, and effects processing. The Edit page enables In these walkthroughs, we’ll show you around
get the necessary files from detailed editing and modulation of each effect, all of Turnado’s controls, and demonstrate some
vault.computermusic.co.uk
as well as precise adjustment of the influence of of the sonic shapes that can be thrown with it.

Autumn 2015 / COmpUTeR mUsiC / 69

> make music now / how to use turnado

> Step by step 1.SettingupTurnadoinLiveandLogic

1 2 3
While you can use Turnado without a To get Turnado up and running in However, it’s actually easier to send
MIDI controller, it’s a lot more fun with Ableton Live, load Turnado onto the MIDI data directly to the plugin from a
one. Setting it up varies from host to host. audio or MIDI track you want to process, MIDI track. Create a new MIDI track and
In standalone mode, just make sure your as you would any other effect plugin. At assign it to Turnado via the MIDI To
MIDI controller is hooked up in the MIDI this point, we could simply set the Main menus. If your knobs are outputting CCs
Settings dialog, then assign eight of its knobs up for automation in Device 1-8, you’re all done; if not, right-click each
knobs to CCs 1-8. Alternatively, right-click Configure mode and assign MIDI Main knob in Turnado and assign it via the
each Main knob, select Learn, and move controllers to them one by one… Learn option.
the hardware knob you want to use for it.

POWER TIP

>TurnadoforiPad
The iPad Edition of Turnado works
with both Audiobus and Inter-App
Audio to send and receive audio to
and from other apps, and can
receive MIDI from any Core MIDI-
compatible DAW. To use it as an
insert effect in Cubasis, for
example, load it onto a track
through the Inter-App Audio
option in the Effects menu, then
create a MIDI track and assign its

4 5
Logic Pro requires a lot more faffing Select the track you want to process in MIDI Out to Turnado. MIDI CCs can
about to send MIDI to effects plugins, the Side Chain menu at the top right now be sent to Turnado from or
but it’s easy when you know how. Rather of Turnado’s interface. That track now through the MIDI track to control
than inserting Turnado onto the track you outputs through the Turnado Instrument the Main knobs.
want to process with it, start by creating a channel as well as its own channel in the
new Instrument track and loading mixer. Turn the original channel all the
Turnado from the AU MIDI-controlled way down in the mixer to silence it, and
Effects Instruments category. Yes, Logic is control Turnado’s Main knobs via MIDI
a bit weird in this regard. input and data on the Instrument track.

2.TheSettingspanel
Turnado’s Settings panel enables various adoring crowd from getting a nasty surprise
preferences to be adjusted, globally and – in when you accidentally switch to that super-
several cases – per preset. distorted patch you forgot was in there mid-gig
Dynamic Displays turns the modulated – make sure Reset After Load is turned on. Also
parameter display updates in effects handy when performing live, FX Off at Knob
modules on and off. When this setting is Full On has the Main knobs turning their effects
deactivated, the numeric displays next to each off at both extremes of their travel, rather than
parameter knob will simply show the value of just at zero, which is the default behaviour. The
that knob. When it’s turned on, the displays Activation Threshold setting, meanwhile,
update in real time to show the results of all determines the distance the Main knobs have
applied modulation. to be raised above zero before their effects are
CC Recall Lock ensures that MIDI activated, from 1-5% of their range.
assignments are retained when changing Activate MIDI Out makes Turnado output
presets, while Ignore Program Change the values of all eight knobs as CC data; and
prevents Program Change messages from Change the way Turnado responds with its Settings page Turn Off Knobs On Host Stop resets all Main
changing effects. We generally suggest knobs to zero when playback of the host DAW
leaving both of these on. Flow turned off, however, the flow simply runs is stopped.
By default, the signal flow through from top left to bottom right. Finally, activating Keep Bypass State
Turnado’s effects is established by the order in To have all eight Main knobs reset to zero maintains the bypass status of all eight effects
which they’re activated. With Dynamic Signal when changing presets – preventing your when preset changes are made.

70 / COmpUTeR mUsiC / Autumn 2015

 how to use turnado / make music now <

> Step by step 3.Loadingeffectsmodulesandpresets

1 2 3
Turnado enables up to eight effects to To load an individual module, just drag A module won’t have any effect on the
be applied in series to the input signal, it from the list onto a slot. Dragging a input until you raise its Main knob
chosen from a list of 24 modules, module from one slot onto another swaps above zero, whereupon its central number
comprising delays, filters, reverbs, loopers, it with the module already in that slot. will light up and the effect’s parameters
modulation effects and more. To load – or Each module has its own module preset will be controlled by the knob – we’ll get
save – a full Turnado preset, click the top- menu, accessed by clicking its name and into the specifics of said parameters and
most preset menu and make your choice. stepped through using the left/right arrow how they are assigned in a later video. To
Step through the presets with the arrow buttons. Randomise all slots by clicking bypass a module, click the little button to
buttons on either side of the menu. the dice icon next to the Turnado logo. its right.

> Step by step 4.MIDIcontrolandtheDictator

1 2 3
With Turnado correctly set up in your By default, the eight Main knobs are With the eight Main knobs assigned,
host as a MIDI-controlled effect, MIDI mapped to MIDI Continuous you’re all set to perform on-the-fly
can be routed to it via a MIDI controller or Controller numbers 1-8, so if the knobs on effects processing, recording the results
data on a MIDI track in order to operate your MIDI controller output those CCs, as a MIDI clip in the host DAW. The
the eight Main knobs. In fact, all the turning them will move the corresponding automatic knob twiddling doesn’t end
controls in the Edit page – which we’ll get Main knobs. If your knobs are assigned to there, though, as Turnado also has its own
into later – can be MIDI controlled, too, but other CCs, either change them to CCs 1-8 automation system built in, in the shape of
getting hands-on with the Main knobs is in your controller’s editor, or right-click the Dictator. Click the Dictator button at
what the plugin is all about. each Main knob and use MIDI learn. the top of the interface to open it.

4 5 6
The Dictator enables you to design a Click any Main knob’s lane to add an You can also move and release a Main
sequence of automation for the eight automation node, and drag the node knob to enter or adjust a node at the
Main knobs. The progression of this is to move it. By default, each new node sets current slider position. The dice and X
controlled by the big slider on the left, its Main knob to 50% – adjust this value by buttons under each lane randomise and
which can be assigned to a MIDI controller. holding Shift and dragging it up and down. clear data, while the same buttons under
The shape of the automation envelope is The coloured ‘shadow’ between the nodes the slider randomise and clear all lanes.
defined by points placed along the eight represents the knob’s changing value, Save Dictator presets with the top menu;
lanes, each one setting its Main knob to a intensifying as it increases. In the absence and set the Dictator to ignore preset
particular value at that stage. of any nodes, the Main knob drops to zero. changes with the padlock button.

Autumn 2015 / COmpUTeR mUsiC / 71

> make music now / how to use turnado

> Step by step 5.TheEditPage

1 2 3
The Edit button at the bottom of any At the top left, there’s a tweakable The Key Sync menu offers a range of
effects module opens its Edit Page. overview of all eight Main knobs, and snap values for quantising activation
Each effect has five parameters clicking one jumps to the Edit Page for of the effect to the nearest bar, half bar,
controllable by its Main knob, and this is that module. Clicking the effect name beat, eighth-note or 16th-note – handy for
where you set up how much each one is brings up the full list of modules for keeping things tight and rhythmic. With
modulated when the knob is turned. The switching between them, while the preset Key Sync Off, activating an effect module
fifth parameter is always Dry/Wet mix. In menu mirrors that of the modules in the by raising its Main knob above zero will
the centre is the module’s Main knob, with Main page. bring that effect into play immediately,
two LFOs and an envelope follower to regardless of host playback position.
either side and below – more on this later.

4 5 6
As already mentioned, there are five The lower knob in each parameter The dropdown menu below the
editable parameters per effect, the section is the Amount controller, Amount knob contains a list of 20
base value of which is set by the large used to dial in modulation of that response shapes, from linear and curved,
knob at the top of its vertical section, with parameter by the Main knob. With the to custom ramps and stepped options. A
the red display showing its current value, Amount controller at the centre detent, curved option, for example, has a gradual
and the red needle within the knob turning the Main knob has no effect on the onset at the bottom of its range but more
responding visibly to modulation in real parameter. By turning Amount clockwise aggressive control in the top half, while a
time. For many parameters, the green or anticlockwise, positive or negative stepped option jumps between discrete
menu holds extra options – filter types, modulation is applied, and the grey values rather than sliding between them.
Ring Modulator base pitch, or delay line indicator curve in the upper knob shows The selected shape is displayed in the
sync, for example. you the modulation’s full possible range. centre of the Amount knob.

POWER TIP

>ThefiveDry/Wet
mixmodes
Equal mode uses the standard ‘Equal
Power Law’ mode, whereby the
signal is attenuated slightly at a
50/50 mix. X-Fade mode blends
between the two signals in linear
fashion, with no additional
attenuation. Dry mode has the wet
signal outputting at all times, with the
knob dialling in the dry signal on top;
while Wet mode does the opposite:

7 8
The three switches to the right of the The first four parameter sections constant dry, adjustable wet. Finally,
Amount knob route Turnado’s two house controls specific to the selected Wet Only kills the dry signal
LFOs (red and blue) and Envelope effect module, but common to all of them completely and has the mix knob
Follower (green) to each of the five effect is the Dry/Wet mix section. The main mix serving as a volume control for the
parameters. With its switch in the centre, control is modulated just like the others, wet signal – intended for when using
a modulator has no effect – flick it up for and five modes tailor the way the dry and Turnado as a send effect.
positive modulation and down for wet signals are blended. Finally, the Gain
negative modulation. The modulators fader lets you dial the signal up or down
themselves will be the subject of the by up to 6dB.
next tutorial.

72 / COmpUTeR mUsiC / Autumn 2015

 how to use turnado / make music now <

> Step by step 6.Themodulators

24 effects, and eight slots in which to put them

7.Theeffects
modules

1 2
At the bottom of the Edit page are The two LFO Function Panels on either We don’t have space to get into all of
Turnado’s three modulation sources, side of the Main knob are identical. Turnado’s 24 effects, but let’s look at
comprising a pair of LFO/sequencers, and Select the LFO waveform by clicking its
the stand-outs in each of the eight
an envelope follower, all of which are name at the top and choosing a shape
assignable simultaneously to each and from the menu. The bottom selection,
colour-coded categories.
every parameter above, for insanely Stepsequencer, switches the LFO to step Our favourite of the Delays is
complex modulations. Assignments are sequencer mode, in which a 16-step Pattern Delay, which uses eight delay
made with the three switches next to each sequence can be drawn directly into the lines to generate 16 preset timing
Amount knob, as in the previous tutorial. display using the mouse. and pitch configurations, selected
with the Pattern knob.
For Modulation Effects, while the
Phaser and Flanger certainly do the
business, the Tonalizer takes the
prize, creating separate short tuned
feedback delay tails for the left and
right channels, and employing a
highly effective freeze function.
Freezeverb’s ability to hold its
ambience indefinitely is great for
soundscapey stuff, but the regular
Reverb, with its Input level parameter
and array of Reflectivity filters,
is the one we find ourselves turning
to most often.
From the Transformation Effects
category, Vocodizer is truly awesome

3 4
You can set the playback mode for The Quantize button ‘steps’ the range for conjuring melodic parts out of
each LFO: One-shot mode triggers of the LFO, anywhere between 2 and any source material thanks to its
one cycle of the wave, like an envelope; 12 values – turned Off, the full range is
Loop plays it continuously setting, built-in arpeggiator.
used. The Rate, Amount and Phase
starting at the moment of activation; and controls in the lower LFO panels set the Levelizer, in the Amplifier section,
Host Sync loops it synced to the host speed and depth of oscillation, and shift is Turnado’s ‘utility’ and dynamics
clock. Loop and One-Shot modes are the phase from 0-360 degrees (dragging effect, with controls for volume and
restarted by deactivating and reactivating the waveform left and right in the display pan, plus sample rate reduction and
the effect. Time Factor – toggles the LFO does the same thing). bitcrushing. Guitar Amp is a basic
between free-running in Hz, and regular amp sim with EQ and limiting.
and triplet host sync.
The Loop Effects category is
packed with madcap devices for
looping parts, each with its own
‘angle’. Pitch Looper, for example,
repitches the input using 32 preset
sequences, while Slice Arranger
chops up the input and rearranges
the slices, then adds rolls and fills.
Although Turnado as a whole has
been designed with live performance
in mind, its three DJ Tools –
Granulizer, Stutter and Vinylizer –
cover the more traditional end of the
DJ effects spectrum, the first two
doing what their names suggest, and
Vinylizer emulating scratching and
turntable braking.

5 6
The Envelope Follower generates a Like the effect parameters, all LFO and Last but not least, the all-
modulation signal based on the Envelope Follower controls can be important Filters category consists
amplitude of the audio input – opening a assigned to the Main knob, for combined of a conventional multimode filter
filter with increased volume, for example. adjustment using your mouse or MIDI
with independent L/R control, a
The Attack knob controls the speed at controller. Once again, the bipolar
which the envelope kicks in when the modulation depth and response curve are funky pattern filter, a dual Vowel
input rises, and Release sets the time to established by the Amount knob and its Filter and the totally mental
fall back again. Amount sets the mod accompanying shape menu. Spectralizer – a bank of 32
depth to all targeted parameters. independently filtered delays.

NeXT mONTHWeshowyouhowtouseatruesoftsynthclassic:Sylenth1 Autumn 2015 / COmpUTeR mUsiC / 73

 tutorials <

Become a better producer every month with pro

advice and videos from our computer music gurus

76 Tritone
substitution

Dave takes a look at replacing an

Easy Guide oft-used chord with something
Music theory
with Dave Clews a little jazzier and unexpected

78 Eerie
vocal pads

Turn a humble vocal sample into

Designer Sounds
Sound design with
a complex, evolving pad with
Paul “InsideInfo” Bondy this sound-design masterclass

80 The truth
about filters

Your filters might not be working

Geek Technique quite as you think – our man o’
Advanced production
with Owen Palmer mixdowns is about to investigate

82 The snare
drum

Get under the surface of your

Dr Beat
Beat and drum design
virtual snares with a look at how
with Ronan Macdonald to use the many types on offer

Autumn 2015 / Computer musiC / 75

Dave Clews’

#31

Tritone substitutions
download
Download the accompanying
video and the MIDI/audio files at
vault.computermusic.co.uk

Chord sequences a tad predictable? Try this method of swapping

chords to bring an interesting, jazzy tinge to your progressions
Although it sounds like trying to find a the harmony. Tritone substitutions may be and you’ll see what I mean) – so it’s a bit of a
replacement member for a 50s doo-wop heavily favoured by the jazz fraternity, but surprise to discover that it’s a major component
band when one of the singers calls in sick for that doesn’t mean that they can’t be used in of the smooth turnarounds typical to jazz.
a gig, the official definition of tritone other forms of music too, lending themselves As we’re about to discover, one of the most
substitution is a reharmonisation technique particularly well to R&B and drum ’n’ bass. common uses of a tritone substitution involves
used to add harmonic interest and variety to Played in isolation, a tritone interval has a replacing a dominant seventh chord with
a chord progression. In other words, it’s a way tense, dissonant and spooky sound that another dominant seventh chord. But hang on a
of changing an existing progression by wouldn’t be out of place in a horror movie minute! What’s a dominant seventh chord? And
swapping one chord for a similar chord with soundtrack (check out the disturbing string what makes it specifically a tritone substitution?
more of a jazz flavour, all without disrupting passage at the end of The Beatles’ Glass Onion Some definitions are in order, so let’s begin…

>Step by step Adding a jazzy turn by switching out dominant seventh chords

TuTorial
Files

1 2 3
The logical place to start demystifying Other examples of tritone intervals are Now we need to examine the structure
# # b
tritone substitution would be with the C to G, D to G , and E to A. There are of a dominant seventh chord, as this is
definition of a tritone itself. The name really only six to learn, since they’re what we’ll be substituting in our example.
#
comes from ‘tri’ meaning ‘three’ and ‘tone’ reversible – the distance from C to F is the To build one, simply take any major triad
# b
meaning, well, tone – a tritone is an same as that from F to C. Adding E to B and add a flattened seventh to it. Using
interval of three whole tones, or six and F to B to the list, we have a complete the system of numbering the degrees of
semitones, and it represents exactly half half set of tritones. To get the other half, all the major scale from 1 to 7, the formula for
b
of one octave. So as an example, the we need to do is reverse the order of each a dominant seventh is 1-3-5- 7. Above is a
# # #
interval between C and F is a tritone. of the first six. F to C, G to C , etc. C7 chord, to illustrate the structure.

4 5 6
The name ‘dominant seventh’ comes Notice how dominant seventh chords The B has gone from being the third in
b
from the fact that this structure also contain a tritone interval – in the G7 to the flattened seventh in D 7,
occurs naturally when you build a case of G7 (G-B-D-F), the tritone is while the F has switched from being the
seventh chord on the dominant (fifth) between B and F. If we move a tritone flattened seventh in G7 to being the third
b b b
degree of a major scale using only notes away from G to D and build a D 7 chord, in D 7. This means that we can safely
b b b
from that scale. C major gives us G7 we get D -F-A -B. This also contains the substitute D 7 whenever we see a G7 in a
(G-B-D-F) – the root, G, is the fifth degree same tritone interval B to F, except this chord progression, and it will sound cool,
(dominant) of C major, and G, B, D and F time, there’s a subtle difference: the order ramping up the jazz factor a notch or two!
all occur in the C major scale. of the notes is reversed.

76 / Computer musiC / Autumn 2015

 easy guide / make music now <

recommended listening Pro tiPs Dave Clews

antônio Carlos Jobim, diminisHed responsibility In a studio career
THE Girl from ipanEma Probably the easiest way to quickly find a tritone spanning almost 25
The Gilberto & Getz version of this interval on a piano keyboard is to play two notes an years, Dave has
tune made it famous, and it uses octave apart with a perfect fifth in between, then just
tritone substitution in a jazzy, flatten the fifth by one semitone. There will now be an
engineered,
bossa nova context. In F major, it equal distance of six semitones or three whole tones programmed and
swaps the anticipated C7 for Gb7. between the three notes you’re holding down – in other played keyboards on
words, a tritone interval either side of the centre note. records for a string of
bit.ly/GirlfromIpanema For this reason, another name for the tritone interval is
the diminished fifth. artists including
George Michael, Kylie
mereditH wilson,
Till THErE was you subs benCH Minogue, Tina Turner
No one can cover this better Sill not sure about working out tritones? It shouldn’t and Estelle. These
than The Beatles, of course! take you too long to grasp it, but here’s a list of all of
them, across the keyboard, to get you started: days, in between writing articles
The tritone substitution comes # # #
C7 » F 7 C 7 » G7 D7 » G 7 for and other magazines, he
in during the solo – see if you b b
E 7 » A7 E7 » B 7 F7 » B7 collaborates on occasional songs
can work out where exactly. # # b
F 7 » C7 G7 » C 7 A 7 » D7
b b and videos with singer/songwriter
A7 » E 7 B 7 » E7 B7 » F7
bit.ly/BeatlesTill Lucy Hirst, aka Polkadothaze.
www.daveclews.com

7 8 9
So why does this work? Dominant Let’s now look at using a tritone To do our tritone substitution, we want
seventh chords whose root notes are substitution in a ii-V-I progression, to substitute our existing V dominant
a tritone apart are harmonically very which is a classic jazz turnaround. In C seventh chord – G7 in this case – with the
similar, as the shared tritone intervals that major, this gives us the progression Dm - G dominant seventh# chord a tritone away
they contain are the most important notes - C. If we play these as diatonic seventh from G, which is C 7. So, remembering how
in the chord – the ones that give it that chords – chords with an added note taken we build
#
a# dominant seventh chord, we
unique dominant seventh quality. It’s for from the C major scale – we get Dmin7 - get C -F-G -B. Again, notice how this chord
this reason that they’re so freely G7 - Cmaj7. Note how we now have a has the same, ‘mirrored’ tritone interval
interchangeable within a progression. dominant seventh for our V chord, G7. within it (F-B) as the one found in G7 (B-F).

10 11 12
Here’s another tritone substitution in For another example, here’s a ii - V - I Finally, another easy way of finding
b
the context of a DnB tune, this time progression in B major. That gives us the tritone substitution for a chord is
b b
using a C minor progression. The ii-V-I Cm7 - F7 - B maj7, with F7 (F-A-C-E ) as the by looking at the circle of fifths, which we
occurs in bar 4 with the G7 chord,
#
and in V7 chord. Again, we can substitute this talked about in the last issue’s Easy Guide.
bar 8 with the substituted C 7 chord. One with the dominant#seventh a tritone away, To find the chord a tritone away from any
b
bonus side effect of this is the chromatic which is B7 (B-E -F -A). The resulting other particular chord, just look directly
b
bassline that results from the substitution progression is Cm7 - B7 - B Maj7. across to the opposite edge of the circle
– instead of D, G, C in the left hand, we now and there you have it!
b
have D, D , C.

neXt montH Dave takes a close look at the tonic/dominant relationship Autumn 2015 / Computer musiC / 77
Designer
sounds
with InsideInfo

#15

Eerie vocal pads

Our resident sound-design guru does what he does best, download
Get the video tutorial and
audio files to follow along at

flipping a plain sample into something inspiring and new vault.computermusic.co.uk

Choral pad sounds often feature as vocal sample. We’re going to smother it in design and you haven’t grabbed yourself a field
patches in sample-based synths, but it’s effects such as chorus and reverb, and edit the recorder yet, I really recommend giving it a try. If
pretty straightforward and quick to create sample’s frequency content along the way – you’re not ready to jump in and buy a field
your own. Izotope Iris 2 is a perfect tool for tasks we can get done entirely inside the recorder, try it with your phone – while you may
this, as it offers superb sample manipulation instrument plugin. not get the clarity of a dedicated piece of kit, a
features and unusual spectral filtering I’m also chucking in a bit of trusted recorded rough-and-ready recording will serve you well
capabilities that can bring out subtle but Foley into the pad sound for good measure, just for textures and layering. I’ve used quite a few
beautiful harmonic layers. because it wouldn’t feel right without it! This phone recordings in tracks before. Anyway, find
So here, we’re going to create a luscious sort of real-world element makes for a more yourself a bunch of vocal samples, dig into the
vocal pad, stemming from one simple female organic sound overall. If you’re into sound tutorial and get creating!

>Step by step Turning a vocal sample into a lush, complex pad

TuTorial
Files

1 2 3
First of all, we need to find a suitable Load Iris 2 in your DAW and click on Underneath the Spectrogram display
vocal sample to use as the core of our Layer 1 in the top right. Click on the is a slider that blends the waveform
patch. I’ve found a cool-sounding vocal folder icon in the sample 1 window and view of the audio sample with the
chant in ’s Wired West sample pack, browse to your chosen vocal sample, spectrogram. Move it to the halfway point
from way back in the heady days of issue or use the one I’ve included in the to make the waveform visible. We need to
111. Notice that the chant changes pitch as Tutorial Files folder. Iris will detect the find a loop within the sample that sustains
it progresses, which will give us some root note of the sample so we don’t need one note and sounds good too. In your
interesting, subtle changes in texture. to find the correct pitch ourselves. DAW, add a MIDI clip on Iris’s channel,
draw in a C3 note, and loop it.

4 5 6
I really like the sound of the middle Drag the loop start arrow at the top to Let’s create another layer with some
section when the singer drops down a just after the beginning of the sample spectral filtering. Right-click Layer 1
few notes – drag the start position locator start position, and the loop end point to and select Copy Sample, and in Layer 2,
at the top to the beginning of this phrase. just before the end of the section. To make select Paste Sample. In the layer 2 edit
I’m going to leave a bit of pitch transition the transitions smoother and softer, raise window, select the brush tool, and draw
at the beginning so we get a nice slide into the Crossfade amount so the crossfade in a line right at the top around the area
the note. Now we need to create a loop slope sits between the sample playback we used as the loop section in the first
point within this section. and loop positions. Play or program a layer – this will give us some some cool
chord so we have a nice pad sound. shimmering tops.

78 / Computer musiC / Autumn 2015

 designer sounds / make music now <

InsideInfo
Recommended listening PRo tiPs As a drum ’n’ bass
producer and DJ, Paul
Future sound oF maCro maChines InsideInfo’s back
london, My KingdoM Iris 2 has macro controls. With these, you can assign a catalogue features
A beautiful, classic track from single knob to multiple parameters at once, controlling, releases on such
FSOL, switching between for example, the LFO speed and depth at once. This
moods with an incredibly kind of thing is very useful for creating interesting
lauded labels as Virus,
haunting vocal pad that creeps shifts and movements using automation or a MIDI Viper, Metro, Critical,
up on you in key moments. controller. Try assigning reverb, cutoff and chorus to Hospital and Renegade
one macro and adjust this knob wherever in your track Hardware. In between
bit.ly/FSOLmyKingdom you want the pad to sound more intense and epic.
gigging and twisting
VoCal sourCe up weird noises for his
underworld, darK
and Long (darK Train) I turned to the archives to find a suitable vocal tracks and sample libraries, Paul
There’s an excellent vocal choir chant for this tutorial, but there are hundreds of also produces music for
pad sitting under the intro and chants similar to this found on commercial sample
CDs. Better yet, record your own, or use a speech commercial advertising.
the middle of this tune. It sounds
like a synth but could be easily synthesis program to synthesise a personalised www.insideinfo.co.uk
created using the method below. vocal chant – that would certainly yield weird and
interesting results! For a different feel, try using
bit.ly/UnderworldDAL different vocal samples for each layer.

7 8 9
Here, I’ve added a couple of blobs We can add crazy panning to this layer It’s starting to sound really nice now!
from about 700Hz to 7kHz for some for more width and excitement, and an Let’s give it a bit more warmth using a
lovely harmonic enhancement. LFO mapped to the Pan parameter will take new layer. Right-click over sample Layer 1,
Experiment here with what sounds good care of this nicely. In the Modulation tab, and click Copy Sample and Selection.
to your ears. Add some reverb to the layer drag LFO 1’s crossed-arrows icon to one of Now Paste this onto Layer 3. In Layer 3,
by changing the master FX mode to Send, the small circles next to the Pan knob. Now move the Coarse pitch knob down to -12st
turning on the Reverb effect and cranking set the Depth to 75% and the Rate to to pitch it down an octave. Dial in some
up the dial. around 6Hz so it pans around rapidly. Chorus to thicken this layer up.

10 11 12
For the final layer, we’ll use something In the sample section, change the Finally, let’s give this layer a pitch
completely different for added top- Playback mode to Backwards so it envelope so we get a nice ‘wash-over’
end texture: the sound of a tap running. sounds more otherworldly and strange. effect. Drag Envelope 1’s crossed arrows
You can use the included sample in the Draw in a wavy line using the brush tool at over to the Coarse pitch knob and move
Tutorial Files folder. Select Layer 4 and the top of the frequency band as shown, the mod depth dial down to about
drag the sample into the window. Move so we only hear the upper part of the 10 o’clock as shown. Now set Envelope 1’s
the Coarse pitch knob all the way up to spectrum. Dial in some more Reverb and Attack to 6000ms to create the pitch
23st so it’s brighter and more audible. Chorus to this layer and adjust the Gain if transition. That’s your custom-made vocal
it feels too overpowering. pad finished!

neXt month Paul sheds light on NI’s Reaktor Prism, fashioning some trippy keys Autumn 2015 / Computer musiC / 79
 Geek
Technique
with Owen Palmer

#12

The truth about filters

download
See the video and get the audio
demos on your PC/Mac at:
vault.computermusic.co.uk

Think you know what your filters are doing? Think again!
Owen’s here to expose what’s really happening under the hood
When it comes to music making, I’m every rather than engaging in true critical thinking. some contentious views about the use and
bit as passionate about the learning as I Oftentimes, the herd are playing Chinese abuse of filters. Ultimately, I hear problems in
am about the doing. The more you progress whispers, and ideas begin to circulate that have people’s music caused by filters, and I have a
with learning your craft, the more you feel little or no basis in fact, but we assume a belief hard time convincing those people that they
empowered to do it (and to enjoy it!) But no must be correct if enough people support it. can improve their sonics by using filters more
matter how much we learn, there’ll always be Don’t get me wrong – assumption is a necessary wisely and less often. It typically takes a long
new things to discover. Therefore, to some part of our thinking – I’m just pointing out that time for someone to even try my suggestions,
extent, we all use mental shortcuts to get by. what we’ve been told isn’t what we know. ’cos it contradicts what they thought they
One such shortcut is to go along with the This month’s Geek Technique is about filters, already knew, and that can be tough to deal
herd, accepting what’s commonly believed, but it’s really about seeking the truth. I have with. So allow me to prove my convictions…

>Step by step Understanding some common misconceptions about filters

TuTorial
Files

1 2 3
In this tutorial, we’ll take a really close Filtering out unneeded frequencies Let’s look at some basic waveforms.
look at how filters behave, so that you doesn’t necessarily save headroom. In Here we have a 55Hz triangle wave
can better predict their impact on the other words, high- or low-pass filtering a producing a steady -6dB on the peak level
quality of your audio, and to help you sound won’t always result in a lower- meter. I’m using the Equalizer module
avoid common pitfalls along the way. You amplitude signal. The general consensus from Ozone 6 because of its fantastic
might use filters to do sound design, help says to cut unimportant frequencies for a visual feedback, but try these tests with
refine your mixdown, or for some other louder mix, but that advice doesn’t hold whichever filters you tend to use most.
creative effects. So here are some things up under scrutiny. I’ve supplied a set of So, what happens if we engage a simple
you really ought to know… test WAVs, but try this with music, too. 12dB high-pass filter at 20Hz?

4 5 6
We can see that in this case the Steadily raising the cutoff frequency By contrast, as we sweep the high-
triangle wave now peaks at about from 20Hz, the square wave loses pass cutoff upwards from 20Hz on the
-7.1dB, and so has gained just over 1dB of more and more headroom, peaking higher triangle wave, you’ll notice that both the
headroom. A square wave, however, now and higher until we reach 50Hz. Then, the peak level and the RMS level drop lower
peaks at -1.6dB, so has actually lost over peak level starts to drop as the cutoff and lower – although not by the same
4dB of headroom! Remember, the cutoff is passes 60Hz, but it doesn’t fall below our factor. At the very least, we can deduce
20Hz, way below the fundamental starting level (-6dB) until we reach up to that a high-pass filter may cause either a
frequency – yet these test waveforms still 4kHz. Notice that the RMS level falls lower reduction or an increase in peak level,
show a measurable shift in level. the more you cut, as you’d expect. even if the RMS level is decreased.

80 / Computer musiC / Autumn 2015

 geek technique / make music now <

Pro tiPs Owen Palmer

waves are waves the upshot As an in-demand
To help understand how and why audio behaves the So I’ve proven that filters may not actually always work dance music engineer,
way it does, it’s useful to remember that sound is our to improve your headroom, as conventional wisdom Owen’s worked with a
brain’s interpretation of waves in the air, and that tells us. So what to do? Remove every single filter from
sound waves are not unlike waves we can see – such your music? Obviously not – there’s more to production
slew of outstanding
as those in water. Next time you’re by the sea, a river, than headroom management. If anything, I hope I’ve underground artists
or even just a pond, well, or bucket of water, notice shown you to never throw a filter on a track ‘just in behind the scenes
how ripples and waves start, move and dissipate. case’ or ‘just to be safe’, because it can actually harm from his London
Pay particular attention to what happens when the your mix quality.
waves collide and how the direction, phase and If you listen closely, you may notice tonal changes studio. After years of
magnitude of those waves affects the combined to the sound you’re filtering. I think the smearing effect meticulously studying
outcome. One thing’s for sure, the waves do affect caused by the pre-ringing of linear-phase filters can what makes a great
each other, and new waves are created when sound quite nice sometimes; other times it’s production tick, Owen
multiple waves are combined. Drawing this parallel unnoticeable; but again, it’s highly contextual, and the
should help you to visualise how waves in the air are latency introduced can be a put-off. When all is said and has promised to share his most
actually incredibly responsive to each other. Alter a done, the sensible approach is to stay aware of the advanced and coveted techniques
single wave in a complex system of many, and it will pitfalls and make your decisions based on what you’re each month exclusively in . Get
have consequences for every one of the waves in hearing – now knowing what to listen for and what
in touch with Owen about this
that system. your options are.
month’s subject at…
[email protected]

7 8 9
Can you guess how the high-pass will This represents the points on the Every sound is made up of composite
affect the sawtooth waveform? If you frequency spectrum where phase frequencies – sine waves, put simply.
can, we may in fact be long-lost BFFs – shifting will occur, and by how much. With Summing sound waves is a delicate
email me… Anyway, with the high-pass at the high-pass cutoff set to 20Hz, we can balance, though – any adjustments you
20Hz, the sawtooth loses just over 3dB of see that the phase is shifted much further make to the relative phase of the
headroom, peaking higher and higher up, past our 55Hz fundamental frequency, individual frequencies will therefore cause
until it passes about 60Hz. So what’s which explains why the high-pass can an impact on the resulting summed
going on? Let’s take a look at Ozone’s affect frequencies outside the range of the waveform (refer to my Pro Tips above for
Phase Response curve… cutoff slope. a more detailed explanation).

10 11 12
Some people think that the steeper a With a linear-phase high-pass, you’ll OK, two problems: firstly, linear-phase
filter is, somehow the ‘cleaner’ it is, but notice that none of our three test filters, by design, introduce significant
if we increase the slope from 12dB/oct to waveforms suffer from increased peak latency; secondly, the more drastic the
24 or 48, the Phase Response goes even level, no matter how steep the slope is and filtering, the more the audio will suffer
more wild. What does this mean? Well, on no matter where we put the cutoff from pre-ringing – which you can clearly
the saw wave, it means the steeper the frequency. That’s nice for test tones, but hear as transient smearing in this case.
high-pass, the more headroom we lose at how do linear-phase filters work with Check out the Pro Tips above to see how
20Hz. Switching our filter to Linear Phase complex musical audio? Let’s try it on to approach filtering like a proper geek,
mode prevents this erratic behaviour. some tight drums. armed with this knowledge.

neXt month Peer deep into Owen’s mod matrix to see the tiniest details at work Autumn 2015 / Computer musiC / 81
Dr Beat
with Ronan Macdonald

#09

The snare drum download

See it in video and get the
tutorial files on your PC/Mac at

The doc’s here to help you articulate yourself better vault.computermusic.co.uk

Ronan Macdonald At the heart of the modern drum kit sits the
snare drum, providing the backbeat to all
springs underneath the drum, touching the
bottom head to add the characteristic crack and
Having forms of pop, rock, dance, urban and electronic noise to the sound.
previously music for over 60 years now. Although it could Drummer gags aside, the snare drum is a
served as Editor be argued that the kick drum is the more very serious instrument, the skilled playing of
of drummer’s ‘important’ half of the central kick/snare which draws on a standardised set of complex
bible Rhythm as partnership, the snare is the more expressive of techniques called rudiments that are practised
well as the two, able to embellish or utterly transform a by drummers just as a pianist might practise
Computer groove through its far higher level of playability. their scales. It’s also capable of outputting a
Music, Ronan is Between 12" and 14" in diameter and 3.5" and pretty broad range of sounds simply through
clearly the right 10" in depth (but usually 5.5" or 6.5"), and with being struck in different ways with different
man for this heads on the top and bottom, the shell of the types of stick.
particular gig. He’s been playing drums snare is usually made of metal or wood – metal In this walkthrough, I’ll show you the gamut
for over 30 years and making music being brighter, and wood being the warmer. The of noises that can be elicited from your virtual
with computers since the 90s. eponymous snares are a rack of long wire snare drums.

>Step by step Exploring the many sounds of the snare drum

TuTorial
Files

1 2 3
Hitting the centre of the snare head When power is the priority, it’s time for A sidestick articulation engages the
with the tip of the stick results in the a rimshot. With this, the shaft of the shell more than the head. The tip of
‘standard’ snare drum sound. With this, stick hits the rim of the drum as the tip hits the stick is held down on the centre of the
you’re hearing the full crack of the top the head, for extra ‘crack’ and volume. head and used as a ‘hinge’ for the shaft,
head and the snares on the bottom, along Some multisampled drum kits trigger the which is brought down onto the rim for a
with the unhindered resonance of the rimshot at maximum velocities – when distinctive ‘click’. This is ideal for quieter
body of the drum – this is the snare drum programming fills, be sure to throw a few moments in a track, contrasting perfectly
at its fattest and most ‘general purpose’. in, for accenting and emphasis. with the full snare sound.

4 5 6
While whole books can be written on By releasing the lever on the side of a Sampled snares played using mallets,
the subject of brushes, a simple way snare drum, the snares themselves are rods fingers and other implements are
to use them is as a softer alternative to disabled, for a rounder, less attacking hard to come by, but such unusual sounds
sticks. Brushed hi-hat samples are sound that sits halfway between snare can be very useful, so hunt them down if
incredibly few and far between, however, and tom. ‘Snares off’ samples are also rare, you can. For example, Battery 4’s Session
so if you don’t want to mix sticks and but the technique is a staple of folk and LE kit includes a rim sound, and
brushes, you might want to move your other acoustic styles – another good Toontrack’s Indie Folk EZX for EZdrummer
hi-hat pattern to the snare, as I have here. option for quieter, more organic passages. 2 features a snare played with mallets.

82 / Computer musiC / Autumn 2015 NEXT MONTH Ronan shows how best to apply your virtual sticks to the hi-hats
BINGO
PLAYERS
How do you keep going after losing your
best friend and production partner? Now
that he’s flying solo, we sit down with the
Dutch electro house master to find out

Bingo Players’ Maarten Hoogstraten is “The lyrics [My fight is won. Who needs a kick drum. You travel together when you’re on
laughing quietly to himself. “At last,” he gun? Boom-boom! Knock you out!] were written tour and share some beautiful experiences. And
says, shaking his head, “an interview where I before Paul even knew he was ill,” explains then, that person is suddenly gone.”
don’t get asked how we came up with the Hoogstraten, “but they seemed to capture the
name Bingo Players.” spirit of his fight over the previous year. In a way, : In interviews, you said that Paul wanted
Damn it! Now you’ve got us interested. “What it was his song!” you to carry on, but you’ve also admitted
I really want to say is, ‘I love playing bingo and I Understandably, it’s been a busy year – and I’m sure every reader will understand
hang out at bingo halls every weekend.’ The for Hoogstraten. After releasing the big ’n’ this – that you didn’t know if you’d be able to
reality isn’t so interesting. It’s just a name… we bouncy Curiosity over the summer, he face going into the studio alone.
saw it, we liked it, we kept it.” embarked on a massive US tour, but we MH: “There were two chairs in front of the desk,
Although he regularly refers to Bingo Players managed to grab a couple of hours with him but only one person. Who was going to give me
as ‘we’, many people will know that Hoogstraten at his Enschede studio. the feedback? Who was going to tell me my idea
is now the sole Player; sadly, he lost his best was rubbish? I missed the vibe we had together;
mate and long-term studio partner, Paul Computer Music: Even today, it must be weird I missed the chemistry.
Bäumer, to cancer in 2013. The decision to being in the studio without Paul. “The first songs I worked on were songs that
continue was a difficult one, but Hoogstraten Maarten Hoogstraten: “For sure! I met Paul Paul and me had been putting together before
released a follow up to the huge hit (Get Up) when I was maybe 13 or 14 and, ever since that he died. That was so tough, but I wanted to get a
Rattle – who can forget the video with the day, we made music together. He was like a bit of Paul back with me in the studio.”
revenge-hungry mallards? – just a few weeks brother; in fact, I probably saw him more than I
after Bäumer passed away. Co-written by multi- saw members of my own family. : How come you two ended up being mates
platinum, multi-award winner Sia – regular “You’re there together in that small space, all those years ago?
collaborator with the likes of Rihanna, Beyoncé, and you aren’t just writing songs… you’re MH: “That was all down to computers. His little
Guetta etc – Knock You Out gave Bingo Players a sharing your lives. You eat together, you argue brother was at my school, and he asked me what
US Dance Chart Number One. and have difficult discussions about a certain I was interested in. I said, ‘Well, I make music

84 / Computer musiC / Autumn 2015

 bingo players / interview <

“There were two chairs in front

of the desk, but only one person.
Who was going to give me the
feedback? Who was going to tell
me my idea was rubbish?”

Autumn 2015 / Computer musiC / 85

> interview / bingo players

using my computer, a Sound Blaster soundcard

and tracker software,’ totally expecting him to
think I was some kind of geek. Instead, he said,
“We felt that we knew how to
‘You gotta meet my brother. That’s what he’s
into.’ No one I knew was interested in this kind of make a good song, but the
stuff, but I went round to his house and there
was this kid doing the same thing as me.
Immediately, we were friends and started
trick is finding your sound”
making songs together.”
reverbs on my computer, but I didn’t have to have automation, but Ableton was so damn
: What were you listening to? spend £20,000. quick. A track that would take five or six days in
MH: “Early rave music from the UK. We were “Logic might be a totally different program, Logic was only taking two or three in Ableton.
lucky enough to get it on the radio in Holland… but there was something very ‘logical’ about “When you’re relatively new to the world of
stuff like The Prodigy’s Out Of Space. I must Reason. If you had no real studio or production, you want something that allows you
have been about nine or ten years old and had programming experience, it was a great way to to keep working and building songs; you don’t
no interest in music at all, but then I heard these learn about making music. Everything was there want to be held back by technical difficulties,
crazy drums and the speeded up vocals, and I in front of you – you flip the rack and there are because that will kill your enjoyment.”
was hooked. Certain types of electronic music – the cables. It was like having the real thing.
and I think this is still true today – are very “The VST thing – or lack of it – was the only : Touch Me, the single you did with
appealing to a young kid’s mind. They fire your thing that made us switch to Logic. That was Chocolate Puma, was the track that finally
imagination like a good science fiction film; they probably around 2006 or 2007.” got you noticed in 2008. Were you looking
take you to another place. for a particular sound, or did it just… happen?
“I wanted to make music that sounded like : Still with Logic? MH: “I suppose it was a bit of both. We’d
that, but I had no idea how. These days, you go MH: “No! We only managed a couple of years definitely been influenced by bands like Daft
into any school and every kid has got a laptop… and then we said, ‘This is just too buggy.’ At first, Punk and the new electro house sound; Fedde le
every kid knows about GarageBand or Logic. we loved it. We had all these VSTs and we were Grand’s Put Your Hands Up 4 Detroit was the
Back then, you had to really work hard to get completely inspired. In terms of what we vibe we were looking for. But I guess you take
your computer to make a noise.” became, Logic was definitely an important those influences and you try to build them into
stepping stone for us, but the crashing and the something new.
: Any early demos still kicking around? unpredictability began to annoy us. “We felt that we knew how to make a good
MH: “[Laughs] It would be great to have a listen. “I’m not saying bad things about Logic song, because we’d been messing around for a
We eventually saved up to buy an Atari, Cubase because I know that millions of people use it, long time, but the trick is finding your sound. By
and an Akai S1000 sampler, but the thing that but the first time I saw Ableton, I just knew it was the time we released Touch Me, dance music
really opened the door for us was Reason. for us. It was the speed and the user-friendly was moving and progressing so quickly. The
Suddenly, I could have all these synths and automation that sold it to me. Sure, all programs change from hardware to VST suddenly gave
the world all these new styles; each week there
seemed to be a fresh sound.
“For us, that was a very important period – a
time of learning and studying. ‘OK, here’s this
new bassline; how did they do that?’ We spent a
lot of time learning how to get the best from
synthesisers and how to program different
rhythms; going really deep into production.
What you’re doing is actually investigating
what’s available and trying to find out what
appeals to you – finding the place where you
can start your journey as an artist.
“Of course, as soon as we released Touch Me
and people started to take notice, we thought
that we’d found our sound, but we didn’t realise
that journey is never-ending. You’re always
Maarten ripping it up
at EDC, keeping the Bingo
learning, always looking for something new.
Players sound going And that’s what’s so great about software: it
makes electronic music available to everybody.
I often think about those two 14-year-old kids
playing with trackers and wonder what we
could have achieved if we’d been writing songs
on Ableton or Reason.”

: How does songwriting work for you?

There’s a strong melodic element to Bingo
Players songs. Does the melody always
come before the bass and the drums?
MH: “Maybe not 100%, but most of the time.
I always seem to have an idea for chords
and melodies before anything else. For me, a
song has to be a ‘song’; it’s not an experiment
in sound.
“Knock You Out started out with the vocal
line that Sia sent over to us. As soon as we heard
it, we just thought, ‘Wow, we can easily build
something around this.’ That song came so
quick because we’d been given such a strong
melodic starting point.

86 / Computer musiC / Autumn 2015

 bingo players / interview <

“We’d argue for a while,

then we’d try it Paul’s way,
and I’d realise he was right”

“Unfortunately, we had to get the vocal hit’, you can almost guarantee that it won’t Kit list
re-recorded and…” happen. You cannot force success; it has to HARDWARE
happen naturally. That was certainly the case Apple Mac Pro
: …Was that a contractual thing? for us… there was no pressure and no Apogee Symphony
MH: “It’s a long story. Too long. All I can say is expectation. It just sort of happened.” Focal Twin 6BE
that we loved Sia’s vocal, but we had to find Yamaha NS10
someone else to record it. Finding the right : Your studio is based around Ableton, but Roland Alpha Juno 2
vocal took time. I guess that’s the other side of you haven’t ditched the hardware altogether. Access Virus TI
the music business – sometimes, you can write MH: “I love the delays, the compressors and the Korg M3 Workstation
a song in two days, but actually releasing that EQ on Ableton, but I’ve never liked the reverbs. Bricasti M7
song can take a lot longer.” They don’t sound like I want them to sound. Yes, Ensoniq DP/4
there are great software reverbs out there, but I Digitech Talker
: Does having a ‘hit’ automatically put you decided to treat myself to a Bricasti M7. I actually
SOFTWARE
under pressure? Is there a tendency to say, wanted an old Lexicon, but I was worried that
Native Instruments Massive
‘OK, I’m going to write another hit song’? I’d spend all my time getting it serviced and
Reveal Sound Spire
MH: “Having a big song certainly changes never being able to use it. The Bricasti is made
Xfer Records Serum
things. You don’t make much money from by ex-Lexicon engineers. For me, it’s an updated
reFX Nexus2
record sales anymore, but it opens the door to Lexicon, and easily the best reverb unit I’ve Spectrasonics’ Omnisphere and Trilian
bigger festivals and bigger collaborations. ever heard. Arturia V Collection
Having a big song got us onto the Coachella “There’s an Ensoniq DP/4, which I got ValhallaDSP VintageVerb
line-up, which is something we’d always specifically for the phaser – I read somewhere Soundtoys EchoBoy, Decapitator,
dreamt about. that it’s the one that Daft Punk use. And I also Crystallizer
“As an artist, if you have some momentum, tracked down another Daft Punk tool, the iZotope Ozone 6
you want to keep that momentum going. But if Digitech Talker, which is a sort of vocoder/talk XLN Addictive Drums 2
you start consciously thinking, ‘I want another box pedal. Software can do most things, but I’ve Sonic Academy KICK

Autumn 2015 / Computer musiC / 87

> interview / bingo players

Two phat ladies – getting Hoogstraten’s even

able to test his mixes on a
that Bingo bottom end nightclub sound system

“This is going to sound really obvious to

anyone who makes dance music, but the
bottom end matters. It really matters!
Take your time… Get comfortable with
your sound. I’m lucky enough to be able
to try out mixes in a club, but I also have a
pair of NS10s in the studio. If a track
sounds OK on the NS10s, it generally
sounds OK anywhere.
“There was that whole new trend last
year for having a seriously low kick
drum – a sub-sub tonal. Personally, I feel
that if you add something that is so
powerful to your song, it almost becomes
too powerful and starts to take over.
Mixing becomes a real problem because
you have to build everything around
your kick drum.
“I would make an exception for a real
808 kick, though. You listen to some of
that early hip-hop and the kick almost
knocks you out. But if I ever get the
chance to use one, I wouldn’t attempt to
mix it myself because I don’t know that
sound. The American hip-hop producers
are the only ones who seem to be able to
handle the 808.”

on there and it’s super-tweakable. Not just in the studio, but in life. Sometimes, I
“Actually, I’ll change my mind. My favourite is catch myself moaning and getting stressed
definitely Xfer’s Serum. It’s still a bit buggy, but about silly things and I say, ‘C’mon, this is crazy.
that thing sounds so fat. As soon as you flick Relax. Stop complaining about things that
through the presets, you know it’s a special really don’t matter.’ All you can do is love your
synth. Some people are a bit snobby about family, love your friends and be grateful for the
presets, but for me, it’s a good indicator of what life you have.”
a synth is capable of. Presets are a starting point:
‘That sounds OK, but let’s tweak it and see what The new Bingo Players single, Curiosity, is out
happens.’ That’s always been my problem with now on Hysteria Records. Catch the end of the US
Nexus2 – I need to tweak! tour in Hakkasan, Las Vegas on 20 September
“Basslines mostly come from Spectrasonics’ www.bingoplayersmusic.com
Omnisphere – you can always find some pretty
realistic analogue sounds – with occasional help
from Massive, of course. But if I’m going down
the disco road, I get my slap bass from Trilian.”

: Does most of your mastering get

done in Ableton?
MH: “Multiband Dynamics… A big yes! The rest is Hear more
handled by Ozone 6, but I try not to go too crazy
When it comes to crafting Bingo Players sounds, Spire on the mastering chain. Things like the stereo
and Nexus2 both have a place in Maarten’s affections imager are very powerful, but you can mess up
the whole sound of a song. Just a little bit is
enough for me.
never heard a plugin vocoder that sounds as “That’s where I really miss Paul. When there
good as the real thing.” are two of you, there’s immediate feedback. ‘Is Curiosity
this OK, or is this totally over the top?’ He was bit.ly/BingoCuriosity
: What about your synths? Are you mostly very good at knowing what was right for a song. (Get Up) Rattle
generating sounds in the box now? I would start heading down a certain road and bit.ly/BingoRattle
MH: “There are a couple hardware synths that he would say, ‘No, that doesn’t work.’ We’d argue
still have a place in the studio – the Juno 2 and for a while, then we’d try it Paul’s way, and I’d WWW

www.hysteriarecs.com
the Access Virus TI, the one that every trance realise he was right. I still try to do that; I still
producer uses! – but the rest are software, think, ‘What would Paul say about those drums? soundcloud.com/bingoplayers
played from a weighted M3 keyboard because I That bassline?’ Some days, I can still hear him…
twitter.com/bingo_players
like that ‘real’ piano feel. Reveal Sound’s Spire is he’s still there with me in the studio.
my new favourite. It’s very popular at the “When you lose somebody like that, it facebook.com/bingoplayers
moment, but there are some very cool sounds changes your perspective on everything.

88 / Computer musiC / Autumn 2015

 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
94
ratings mean
Arturia 1-4 A seriously flawed product
BeatStep Pro 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
92 softube 7 Solid. Well worth considering
heartbeat 8 Very good. A well-conceived
and executed product
No one expected a drum machine
96 9 Excellent. First-rate and
from the analogue-modelling titans among the best you can buy
Renoise
– let’s put it under the microscope Redux 10 Exceptional. It just doesn’t get
any better than this!

VIDEO See and hear the latest

software in action in our
2 WITH
MINUTES
… ‘2 Minutes With…’ videos!
Wherever you see the icon, head
straight to your DVD, the Vault
download area, or our YouTube
98 100 102 channel for a rapid-fire showcase
UVI D16 Group Novation of that product’s essential features
Relayer Antresol and sonic capabilities.
Launchpad Pro youtube.com/computermusicmag

104 106 108 110

AudioThing Blue Cat Audio Acon Digital Mini Reviews
Fog Convolver Dynamics 4 DeFilter

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

Autumn 2015 / Computer musiC / 91

> reviews / softube heartbeat
Instruments Wave and syntH auto layer maCHIne saturatIon
Heartbeat’s eight some instruments this four-channel mIdI manipulation Fatten up your
Instruments are inspired combine samples and processor lets you assign multiple beats with the
by classic drum machines analogue synthesis instruments to a single note master output
valve saturator

addItIonal CHaos
Parameters add variable
additional sound degrees of
tweaking randomness to
parameters within alm channels
the instruments

valley PeoPle
dyna-mIte
this special version
of the compressor/
limiter/gate
PIng/Pong
includes a kick
an auto-panner
ducking option
that alternates the
panning of each
played hit

rev and eCHo mono Cut

Heartbeat includes dedicated Keep your bass end tight by
auxiliary reverb and delay effects monoising the signal below a
VIDEO
user-defined frequency

2 WITH
MINUTES
…

Softube
HeartBeat $219
We’ve seen loads of retro drum machine emulations over the years, so
fresh ideas are welcome, particularly from a developer of this calibre

Heartbeat is a new drum machine plugin impact of Velocity on Attack, Decay and initial descriptions are close enough to deduce that
(VST/AU/AAX) from Swedish developer Pitch, plus a shortening parameter called Bass Drum 1 and Bass Drum 2 emulate, to some
Softube. Inspired by, rather than a direct Time Gate that sets a global decay time for all degree, Roland’s TR-909 and 808 respectively.
emulation of, classic 80s drum machines such instruments (20ms to 100s), and the Auto Layer Both give you more parameters to play with
as Roland’s TR-909, TR-808 and TR-707, it Machine MIDI input manipulator (see Auto Layer than the originals, however, with BD1’s Attack
features eight instrument engines: Bass Drum 1, Machine). Surprisingly, though, there’s no Type and both instruments’ Harmonics controls
Bass Drum 2, Snare/Rimshot, Snare/Clap, HiHats, onboard sequencer. and tailored EQ, in particular, delivering a very
Percussion 1, Percussion 2 and Cymbal. Each broad range of sounds. As a consequence, if
instrument has its own mixer channel with The ’Beat goes on you’re used to working with the real things or
auxiliary reverb and filter delay effects, a Ping/ Softube don’t actually name the drum machines other emulations thereof, the extra flexibility
Pong autopan effect, regular Pan, Mute and Solo that Heartbeat is based on, but their actually makes recreating those classic sounds a
controls, and one-knob instrument-tailored EQ. bit trickier, although the manual includes some
The master section includes an adaptation of suggested settings.
Softube’s Valley People Dyna-mite emulation for “The extra flexibility The two snare instruments (SD Rim and SD
dynamics control, plus EQ, stereo image (Width), Clap) are very flexible, with each component
valve Saturation, and a monoising filter.
Heartbeat’s sounds are mostly generated
actually makes (Wave and Synth) including its own Type, Pitch
and Decay controls, and the mix between the
using modelled analogue synthesis, although
the Kick, Snare and HiHats instruments mix recreating those classic two set using the top slider. For SD Rim, Wave
Type shifts smoothly between Snare and
sampled waveforms in, too. There are global Rimshot, while Synth Type moves from Tone to
settings for overall Velocity sensitivity and the sounds a bit trickier” Noise; for SD Clap, both Wave and Synth controls

92 / Computer musiC / Autumn 2015

 softube heartbeat / reviews <

“The two Percussion

instruments are
identical, with five
transformative Modes”
move from Snare to Clap. Again, a wide range of Create
sounds can be produced, and the manual everything
provides suggested settings for classic sounds. from
The HiHats instrument responds to two MIDI simple
flams to all-
notes for closed and open sounds, the former
out chaos
choking the latter. Sound generation moves with ALM
from Electronic to Acoustic (Wave Type) and
Metal to Noise (Synth Type), with Pitch and
Decay controls on hand for both. The only
downside is that both open and closed hats
share the same synthesis parameters, so they
Auto Layer Machine
always have the same tonality, the only
difference between them being that open On the face of it, Auto Layer Machine Delay knob’s travel (Layer) gradually
sounds for longer than closed. (ALM) seems like a simple enough moves from 0ms to 99ms, while the
The two Percussion instruments are identical, system for stacking sounds, but second half (Fill) dials in synced delays
with five transformative Modes on offer, as well once you get into its complexities, (1/64 to 1/2). It’s a clever setup that
as Decay, Pitch, Tone, bend Time, bend Range you may well find yourself fumbling enables the design of anything from
and bend direction (Up/Down) controls. Single for the manual. simple same-instrument flams or
and Dual Modes use one and two triangle wave In essence, it’s a real-time MIDI synced repeats to more complex layers
oscillators respectively, for classic syn toms and processor operating on four channels, and instrument combinations.
cowbells; FM and FM+N (noise) deliver metallic each responding to a user-assignable Things get rather more crazy with
sounds; while Noise provides shakers and MIDI note. Each channel has four Drum the Chaos sliders at the bottom,
resonant noise zaps. slots to which you freely assign any of though, which travel smoothly through
Finally, the Cymbal instrument makes high- Heartbeat’s eight instruments. The a series of randomising processes,
frequency, noisy cymbal sounds of the Delay knobs control the triggering starting with simple re-ordering
characteristic early 80s variety, with the Ring delay from one slot to the next: with all (upwards arrow) and progressing to
parameter providing some extra attack. three on a channel turned fully triggers ‘spilling’ over into the next
counterclockwise, all four Drum slots ALM channel. At the far right, all
The Heart of the matter trigger together; turn them clockwise surrounding channels are influenced,
Heartbeat includes two aux effects – Filter Echo to apply delay. The first half of the creating, well… chaos.
and TSAR-1D Algorithmic Reverb – summed to
the master output before the Master EQ. Filter
Echo produces both regular and tasty dub-style
filtered delays, while TSAR-1D (a simplified
version of Softube’s TSAR-1 plugin) delivers tight feel removed from the compressed signal, Alternatively
to large spaces with good tailoring of frequency which can be very useful.
content. Each includes a Pre option, for The Master Bus EQ is a ‘broad brush’ design D16 Group Drumazon
positioning before the Dyna-mite module. with High and Low shelves, a Mid range peak 112 » 9/10 » €99
Dyna-mite is a super responsive VCA-style band, and High and Low Cut filters. Meanwhile, A fine TR-909 emulation, one of
dynamics processor that operates in three main the Saturation algorithm gradually adds valve- three classic D16 drum machines
Modes: Slow (compression), Fast (limiting) and type harmonics, Width offers mid/sides
Gate – augmented by Bass Drums Duck mode. rebalancing, and Mono Cut mono-ises the signal FXpansion Tremor
Slow Mode has a slow enough attack to allow below an adjustable cutoff frequency. 176 » 10/10 » £99
snappy compression of beats, while Fast Mode Awesome drum synthesis, a superb
nails transients head on. In either Slow or Fast Not a replacement step sequencer, and great effects
Mode, engaging Duck makes BD1 and BD2 duck Heartbeat is an excellent, highly tweakable
all the other instruments, for clarity in the mix. In drum machine, and we had a ton of fun trying to
Gate Mode, turning Duck on sets the gate to recreate classic sounds with it, while also
respond solely to BD1/2. The net effect of Bass revelling in the new noises it brings to the
Verdict
Drums Duck is that it makes Heartbeat’s kicks percussive table. Much of the latter is down to For Flexible synthesis
the flexibility of the parameters, especially the Plenty of options to add harmonics
Bass Drum Harmonics option and extensive Premium master bus processing
Type settings in the Snare and HiHats Fun fills and crazy effect with the Auto
instruments. However, it’s not always easy to Layer Machine and its Chaos setting
achieve recognisable old-school sounds with it,
and certain tones – TR-909 crashes, for example Against No onboard sequencer
– are beyond its capabilities. We’re also amazed Not a one-stop drum synth
there’s no onboard sequencer, as any vintage-
style drum machine should really have one. It may not be the most straightforward
If you view it for what it is rather than what it classic drum machine emulation, but
isn’t, though, Heartbeat is a fine virtual Heartbeat is powerful, endlessly
instrument that Softube should be proud of. entertaining, and sounds truly thunderous
Time Gate allows you to shorten all instrument
decay times at once, using one knob Web www.softube.com 8/10

Autumn 2015 / Computer musiC / 93

> reviews / arturia beatstep pro

Arturia
BeatStep Pro £185
The original version of this MIDI step sequencer was an admirable
concept that failed to deliver on its potential. Have lessons been learned?
Arturia’s original BeatStep is a standalone from a range of scales or, via the accompanying the original BeatStep, comes next, enabling you
MIDI step sequencer that can be used to software editor, define your own, consisting of to craft whole live performances entirely from
trigger both hardware and software. We liked it as many or as few notes as you like. There’s no the one unit. It can be programmed in the
in our review (7/10, 206) but felt its single pre-quantise, though, so while performances are traditional select-drum-and-engage-steps-for-it
monophonic sequencer held back its potential. automatically quantised when you play them system, or by recording patterns live using the
With the new BeatStep Pro, our concern hasn’t back, true live performance is trickier than with, pads, and it works just like the melodic
just been addressed, it’s been built upon beyond say, Push and Ableton Live. sequencers, but across 16 channels.
all expectations. For post-performance editing, the 16 Up to 16 sequences can be stored in memory
BeatStep Pro features three independent numbered rotaries correspond to the matching per sequencer, and the whole lot can be saved
step sequencers and a set of general purpose step numbers, and adjust things like the note of into 16 global preset slots. MIDI channels can be
MIDI controllers. Two of the sequencers are each step, Shift (nudging notes slightly off the individually assigned for each sequencer, but
monophonic, intended for riffs, basslines and timing grid), Velocity (effectively step volume) not for individual sequences, which would have
the like, while the third is for sequencing up to 16 and Gate (the length of the note). Using this been a nice touch, allowing live performers to
channels of drums. All three are programmed simple system, even a total novice can create instantly access other devices/instruments,
with 16 velocity-sensitive pads (with aftertouch), sequences in minutes – it’s great. simply by changing sequence.
16 step buttons and 16 rotary knobs. The drum sequencer, so sorely lacking from One particularly cool feature is the
Randomiser, which uses Randomness and
Step by step Probability controls to fire off random notes, the
The two monophonic sequencers are
functionally identical, and all three sequencers
“Sequences are former determining how far from your
programmed notes to stray, the latter defining
share some common features. The number of
steps in each is set independently of the others,
programmed or how often that straying happens. It’s a fantastic
addition, particularly with a user-defined scale
to 16, 32, 48 or 64, with manual adjustment of
the sequence end point allowing for odd recorded in real or drum kit, and especially when used in a live
setting (see All a question of performance).
numbers – 15, 31, 47 or 63, for example.
Sequences are programmed or recorded in real
time using 16 step buttons (an improvement on
time using What a DIN
Perhaps the most obvious targets for BeatStep
BeatStep, which could only be step
programmed). The system also lets you choose
16 step buttons” Pro’s sequencers are hardware synths and
samplers, but we had just as much fun

94 / ComPuter muSiC / Autumn 2015

 arturia beatstep pro / reviews <

“It’s an incredibly fun All a question of performance

and versatile machine Some of BeatStep Pro’s features are alongside other musicians.
aimed squarely at the live performer. Another great performance feature
that’s as useful to the The most obvious is the Roller/Looper
function, as also seen on Arturia’s
is the ability to punch in a Randomiser
function for individual tracks. Using
studio producer as it is SparkLE. This ribbon-style controller
offers four quantise levels (1/4, 1/8. 1/16
this, you can, for example, throw in
randomised edits for drums, whilst

to live performers and and 1/32), looping the sequence at its

current position at the current quantise
muting one or both melodic lines. It’s a
highly effective system for nifty live
length when pressed, with the quantise edits, hampered only slightly by the
hardware geeks” value switched by sliding a finger left
and right. It’s a fun system and can
rather small and cramped buttons.
In fact, from a live performance
sound great, but it can also take a little perspective, the overall size of
controlling standalone music apps on our getting used to, with faster timings BeatStep Pro is one of the few minor
laptop. The same goes for plugins in a DAW, of being tricky to play. Though we had drawbacks. There’s a balance to be
course, and we can imagine many studio some initial problems, with the latest struck between features, ergonomics
producers using it to create sequences on the fly Firmware installed it even locks the and economics, and while this unit
that are subsequently recorded into their DAW sequence to a master bar-based grid falls within the right range, a little
for further editing. It can also send and receive (like Flux mode in Traktor), so that extra size would’ve allowed greater
MIDI clock, and so can act as either master or when released, it picks up where it spacing. This isn’t a strictly live
slave with almost anything. would have been playing had the performance machine though, so taken
With that in mind, there are three main ways Roller/Looper not been engaged. In as a multi-purpose device, the balance
to connect BSP. You can use MIDI over USB, 5-pin particular, this makes it easier to play is about right.
DIN MIDI (for connection to older MIDI
hardware) or CV/Gate with eight CV outputs (for
even older hardware). For many, this will seem
like overkill, but it’s indicative of the overall
attention to detail that Arturia have applied,
from the excellent build quality to the
exemplary layout. Details like touch-sensitive
knobs, displaying their values in the three-
character LCD read out, make using BeatStep
Pro quick and intuitive and negate the need for a
cost-increasing display. And should you wish to
undertake more in-depth ‘visual’ programming,
BeatStep Pro makes connectivity its primary mission, being able to sequence almost anything
there’s always the software editor, offering
on-screen adjustment of BeatStep Pro’s
hardware controls and sequence information,
including piano roll- and matrix-based editing, recording and playback of chords.
MIDI CC settings and more. While we admired the concept of the original
BeatStep, its unrealised potential frustrated us.
Alternatively
A ’Step ahead BeatStep Pro transforms a novelty for analogue Ableton Push
Other features that we don’t have space to get synth aficionados into an incredibly fun and 191 » 10/10 » £429
into fully include backwards/back-and-forth versatile machine that’s as useful to the studio Offers Live users access to
sequence play, MIDI-to-CV conversion, Roland producer as it is to live performers and hardware a similar set of performance
TB-303/TR-909 connectivity, and the ability to geeks. It’s by no means an essential purchase, features and more
define custom MIDI CC ranges for the knobs. but if you want an exciting and inspirational
On the down side, the unit could have been new way to play, program and perform music, Arturia BeatStep
made a little larger, for easier access to the Mute we wholeheartedly recommend you take it 206 » 7/10 » £99
and Randomise Current Track buttons. Some for a spin. If you’re looking for a standalone
kind of MPC-style Note Repeat function would monophonic hardware
be welcome, too, as (dare we say it?) would the Web www.arturia.com sequencer, this is still your most
competitively priced purchase

Verdict
For Great studio composition tool
Excellent build quality
Ergonomic layout
Fantastic performance device
Comprehensive connectivity

Against A bit too compact for live use

Still a few obvious features missing

An awesome update to an innovative but

so-so sequencer/controller results in one
The accompanying of the year’s most desirable bits of kit!
software editor can
help you stay in key,
locking you to scale 9/10

Autumn 2015 / ComPuter muSiC / 95

 > reviews / renoise redux
Presets and interface Macros saMPle list Master controls
Preset list and toggle switches for can be bound to single switch between loaded samples Various global controls
revealing the macros and main editor or multiple Modulation and set basic parameters such appear here, as well as
or effects parameters as transpose, volume and pan ‘system’ settings such as
key bindings and themes

tab list
the main
interface is
divided into
these five
tabbed
the Main
windows
editor
the main
interface for
the selected
tab Presets tab. the
choose preset Waveform
configurations editor is
for the showing a
selected tab beat-sliced
drum loop

context-sensitiVe keyboard
displays black and white notes or colour- EDITOR’S CHOICE
VIDEO coded command keys for effects columns
2 WITH
MINUTES
…

Renoise
Redux €70
If migrating from your DAW to a tracker seems a road too far, this plugin
chunk of the world’s most powerful tracker could bridge the gap

We first brought your attention to the then- The main area of the interface switches The Waveform page is an audio editor,
in-development Redux in 207’s Renoise 3 between five tabbed pages: Keyzone, Samples, enabling manipulation of sounds (reverse,
review (10/10), and we’ve been looking forward Waveform, Modulations and Effects. The cross-fading, rendering with effects, etc) and
to its release ever since. Of all the features Keyzone page is where samples are layered and even drawing waveforms from scratch. As with
introduced in version 3 of Renoise, the one that split by assigning them to note and velocity any wave editor worth its salt, a transient-
most impressed us was the redesigned sample ranges. Samples can also be set to play detecting beat-slicer is incorporated, too, for
engine with its Effects Chains, Phrase Editor and monophonically with glide in the main options hacking up loops and assigning the resultant
per-sample Modulation – and it’s essentially this at the top of the interface. slices to keyzones.
element of the tracker that’s been distilled in In the Modulations Page, per-note
Redux as a plugin (VST/AU, and SO for Linux). modulation of parameters such as volume, pan

Re-sample
“Redux is a tool for and filter cutoff can be applied to each sample
on an individual basis or by chaining LFOs,
In a nutshell, Redux is a tool for creating
complex sample-based phrases using a tracker- creating complex envelopes and other devices together to create
modulations far more complex than the sum of
style sequencer, complete with effects and a
powerful modulation system. In addition to the sample-based phrases their parts.
In the Effects page, each sample or set of
samples bundled with Redux, you can load your samples is assigned its own Effects chain,
own (in various formats including WAV, AIF,
FLAC and SFZ) via the sample browser or by
using a tracker- hosting one or more of the 28 built-in effects
modules (reverbs, delays, filters, distortions, etc)
dragging and dropping from your OS, and even
record sounds in directly.
style sequencer” and routed to any one of up to 12 stereo outputs
in the host DAW. Effects parameters can be

96 / ComputeR musiC / Autumn 2015

 renoise redux / reviews <

“The Renoise team

have done a good job
of making the interface
intuitive, but it’s still a
complex beast”
automated using Meta devices, which are
essentially audio effect equivalents of
Modulators, including an LFO, envelope follower
and pitch tracker. Eight MIDI-assignable macros
also enable automation of individual or multiple
The on-screen QWERTY ’board shows which keys ‘do stuff’ in the correspondingly coloured columns
Modulation and Effects parameters via a knob.

Re-phrase
Phrase sequences in Redux are programmed in Cracking the code
the classic ‘spreadsheet’-style tracker
sequencer, by entering alphanumeric data with Arguably the biggest barrier to entry screen highlights the keys relevant to
the QWERTY keyboard or Redux’s context- with any complex plugin – and Redux any particular column. The panning,
sensitive virtual keyboard. A Phrase can be certainly qualifies as that – is finding volume and delay columns also have
anything from a single note/hit or chord to a your way around and getting to know their own sliders for easily setting
melodic line, chord sequence, rhythmic pattern what everything does. Happily, Redux values without keyboard entry, and,
– or indeed, a full-on polyphonic, multi- is dotted with visual cues, dropdown like Renoise, right-click menus help you
instrument musical passage – complete with lists and pop-up tips, aiding beginners manipulate your notes and effects in
special effects commands to define various and veterans alike in this area. various ways – transposition,
aspects of sample playback, from the essentials Most notably, there are a plethora of randomisation, humanisation, etc.
such as volume and pan, through to more alphanumeric effects commands to be Hover the mouse cursor over pretty
unusual functions such as reverse playback and learnt, so whichever column your much any element of Redux and a tip
the probability of any particular note playing. Phrase cursor resides, the relevant explaining its function will appear. In
Phrases are then triggered by MIDI, be it live possible effects for that column will fact, the Redux GUI is generally more
from your keyboard (or other MIDI device) or appear in the FX dropdown list. intuitive than that of Renoise, and we
programmed in the host DAW. In Keymap mode, Additionally, the colour-coded certainly hope the latter will be
up to 126 phrases are assigned to individual QWERTY keyboard at the bottom of the updated with such usability tweaks.
MIDI notes or mapped across multiple keys,
while in Program mode, the selected phrase is
mapped across the whole keyboard, with
Program Change messages used to switch
between phrases. For phrases mapped across
multiple keys, MIDI note input can be set to atmospheric drones and melodic phrases. The Alternatively
control the phrase start point, transposition, or presets are inventive and inspiring, so it’s well
which sample in a multisample set the phrase worth fully exploring their sounds and how Renoise 3
will play. To give a couple of examples: with a they’re designed. While you can, of course, save 207 » 10/10 » €82
kick drum pattern on one phrase assigned to C4 your entire Redux session as a preset, each tab The full-blown real deal. If you want
and a hi-hat rhythm on another phrase assigned also has its own preset list, so you could, for to go totally trackers, this is the way
to D4, pressing C4 and D4 simultaneously example, reuse a lovingly created modulation
triggers them together. By mapping one combo on any set of samples. Renoise ReViSiT
polyphonic melody phrase across the entire instrument presets can also be loaded back into N/A » N/A » £30
MIDI note range, on the other hand, triggering Redux, and this is scheduled to be enabled in the Another ‘plugin tracker’
C4 plays it back at the original pitch, while C5 other direction with the next update to Renoise. with a deep feature set
plays it back an octave higher, and pressing C4 For those coming to Redux without prior
and C5 together would do both. tracker experience, the Renoise team have done
a good job of making the interface intuitive, but Verdict
Rejoice it’s still a comparatively complex beast, so don’t
Redux comes with a good number of preset expect an entirely easy ride. There’s a lot of fun For A slice of the world’s best tracker
patches, from glitchy beats and sound effects to to be had just using the per-note modulations Intuitive GUI (well, for a tracker)
and effects, but the greatest creative rewards of No other plugin like it
Redux come from unlocking the potential of Superb value
Phrases – once you get into that side of its Available to Linux users
operation, Redux can take you into whole new
dimensions of composition and production that Against Steep-ish learning curve
you might never have reached in any other way. Tracker interface not for everyone
Those raised on trackers and already familiar
with the Renoise way of doing things, on the In bringing the essence of Renoise to your
other hand, will appreciate the ability to bring DAW, Redux opens up a new world of
that awesome tracker functionality and audio software – its tracker workflow is
workflow to their ‘conventional’ DAW. something you’ll either love or hate, though
Here, individual hits have been instantly assigned to
notes across the keyboard using the Drum Kit function Web www.renoise.com 10/10

Autumn 2015 / ComputeR musiC / 97

> reviews / uvi relayer

VIDEO

2 WITH
MINUTES
…

UVI
Relayer £88
Delays come in all shapes and sizes, and this new multi-tap
model certainly sits at the more interesting end of the spectrum
UVI call Relayer (VST/AU/AAX) a “Precision Visualizer. This handy graphical display gives out of control, the vast majority of Relayer’s
Creative Delay”; more specifically, it’s a 32-tap real-time feedback on the Gain, Pan, FX1 and FX2 sections and functions, including the tabbed
delay processor with modulation and additional parameters, including the effects of global Editors, can be independently bypassed.
effects. It centres on a step sequencer, with five Feedback and the LFOs within FX1 and FX2. Every multitap delay plugin has its own
Editor pages for applying per-tap modulation to modus operandi, and Relayer is no exception.
delay Time, Gain, Pan, FX1 and FX2 parameters. Simple yet complex Entering delay times – particularly unsynced –
Those ‘FX’ are identical processors with six Drawing in values in the modulation sequencer takes a bit of getting used to, as you have to
modes to choose from: Biquad, Comb, Vowel, is straightforward, but each tab also includes a think in terms of multiples of the global Time
Wahwah, Redux and WaveShaper. For these, the collection of parameter-specific Preset shapes setting, and there’s no manual delay tap entry
step values pertain to one specific parameter of to get you started. Values can also be adjusted pad. For the most part, though, the interface is a
the selected effect. collectively using the Transform function. joy to use, with excellent visual feedback, and an
Relayer’s sixth page handles global feedback Mod Range markers along the top of each abundance of useful features. Relayer delivers
settings, including High and Low Pass filtering, Editor enable looping of parameter settings, and everything from simple delays to complex,
Drive, Drive Type (Analog, Tape and Tube) and Mod Ranges are totally independent of each warped effects with aplomb, and it’s already
specifying which tap has feedback applied. other, so you can combine, say, a short loop for become a go-to in our list of creative plugins.
These tie in with the global Feedback setting on one parameter with lengthier loops elsewhere.
the left, next to which the Repeats control sets Further parameters in the Time and Pan Web www.timespace.com
the number of delay taps. The Time knob above Editors are Swing and logarithmic Warp for
sets a time division in milliseconds or beats Time, and overall Width for Pan, which delays
(1ms to 2s or 1/64 triplets to 32 beats), and delay one channel slightly (0-10ms). Advanced FX Alternatively
times in the modulation sequencer are set to a parameters depend on the loaded effect (filter
multiple or division of this. Mode for Biquad and Model for Wahwah, for Waves SuperTap
Below these are the global delay Modulation example), and the sequenced parameter can N/A » N/A » $125
Depth and Rate controls, and the Input Gate on/ also be modulated with FX-specific LFOs. Waves’ classic tap delay is easy to
off and trigger buttons, the latter used to Ultimately, it’s in the FX sections that Relayer use, with good visual feedback
momentarily send the input signal into the comes into its own. By combining them with the
processor. On the right are further global varied selection of IRs in the Color processor PSP 608 MultiDelay
parameters, comprising separate Dry and Wet (including rooms, amps, speakers and assorted 96 » 9/10 » $149
levels, Color (a 66-preset impulse response other devices) some awesome sounds can be Only eight taps, but offers detailed
processor), and a wet signal Master Filter, with cooked up. The silky smooth Biquad filter and tap control and sounds awesome
adjustable High and Low Pass controls. the potentially aggressive WaveShaper are
Just below the modulation sequencer sits the particularly impressive. And should things get Verdict
For Slick, fun interface
Step sequencer presets for quick setup
Transform the lot Excellent real-time delay Visualizer
Useful Transform editing options
Relayer’s excellent graphical modulation them left and right – as you drag to the right, Two powerful effects processors
sequence input system is augmented by the for example, the last step becomes the first.
Transform feature – the set of five tiny icons Clicking Horizontal Flip reverses the Against No tap pad
just to the left of the modulation sequencer in Modulation Sequence, while dragging Skew Time entry complex for unsynced delays
all five Editor tabs. By dragging or clicking leaves the first (or last with the Shift key held)
these icons, quick collective modification of step as is, and progressively ramps the rest A fun, interesting and highly creative
the modulation sequence is applied. up or down from that point. Finally, Scale delay-based plugin that treads its own
The most straightforward Transform is leaves the middle parameter value path and is all the more impressive for it
Vertical Offset, which shifts the levels of all untouched and scales those on either side of
steps up or down. Horizontal Offset shifts it up or down. 9/10

98 / ComputeR musiC / Autumn 2015

> reviews / d16 group antresol

VIDEO

2 WITH
MINUTES
…

D16 Group
Antresol €39
Faithfully recreating a classic guitar pedal is a daunting enough
prospect, but it takes real chutzpah to try to improve on one
First released in 1976, Electro Harmonix’ Mistress, increasing the Rate applies a minute It’s hard to put into words just how lush
Electric Mistress guitar pedal (and variants) relative reduction to the Depth – one of the Antresol sounds, especially in High Quality
is one of the most ubiquitous effects of the last nuances that characterises the original’s sound. mode (which is admirably un-taxing on the host
four decades, and now we can bring her Phase Shift can also be adjusted between the CPU). It’s versatile, too, delivering everything
undeniable charms to our VST/AU/AAX hosts left and right channels, from 0-180 degrees. from huge, evocative sweeps and authentically
thanks to D16’s new plugin version of it. analogue warmers to chart-smashing stereo
Like the original, Antresol’s distinctively rich Into the bucket wideners and mid/side boosters – and there are
flanging effect is generated by modulating the At the heart of Antresol is the True BBD section. 78 presets of unfailing quality and variety
time offset of a delay feedback loop with an LFO, BBD stands for ‘bucket brigade device’, a type of included to get you started. It also looks
which has an intentional knock-on effect on the analogue delay line chip widely employed in gorgeous, and the ability to increase the GUI size
depth, as we’ll explain shortly. In the original, all guitar pedals from the 70s onwards. In the BBD makes it very comfortable to program.
of this was controlled by three simple controls – circuit, the analogue audio signal is passed Antresol is a triumph of plugin conception
Rate, Range and Colour – and in Antresol, these through a series of capacitors, each establishing and design at a price that can’t be disputed.
have been renamed and supplemented with a certain amount of time delay. Three
further parameters. The plugin can also be parameters customise its action in Antresol: Web www.d16.pl
configured for strict emulation of the original, delay buffer Length, LFO to Clock Voltage Curve,
though, for authenticity. and Range, which adjusts the clock frequency
The preamp level control comes first, and thus the delay times. Alternatively
followed by the L-R/Mid-Side mode selector. Next come controls for the L-R/M-S Feedback
Next, the channel crosstalk control (Ch. X-Fade) levels, and a bass-taming low-cut filter in the Universal Audio MXR
ranges from 0%, for total separation of left and feedback circuit with three settings: Off, Mistress Flanger/Doubler
right channels, through Clone (50%, mono-ising (cuts below 100Hz) and Low (cuts below 50Hz). N/A » N/A » $199
the plugin, like the hardware), to 100%, which The FX section is effectively a mixer for the A great model of another classic
swaps the left and right channels. In M-S mode, levels of the L-R/M-S flanged outputs, plus a flanger for UAD systems
Ch. X-Fade allows for interesting recombinations global wet/dry control. Here, you can also switch
of the Mid and Side signals before they’re the plugin to Mistress Auto Mix mode, which Sinevibes Flow
subsequently flanged separately. applies a hidden input filter and configures the 208 » 10/10 » $29
The LFO controls comprise Offset, Rate and wet and dry signal balance to accurately Easy-to-use yet flexible flanger
Depth, and the Rate can be set freely from 0.02 emulate the original hardware. Finally, there’s an with a classic sound, but AU only
to 40Hz, or synced to host tempo, with Dotted output level control with a large LED meter for
and Triplet options. Just like the Electric visual feedback.
Verdict
For Beautiful GUI
A bit on the side Stunning sound
Great presets
Mid/side processing has become a standard independently set for the Left and Right (or CPU-friendly, even in HQ Mode
feature of music production over the last few Mid and Side) channels, as can the Feedback New features plus pure emulation
years, as evidenced by the impressively amounts – L-R mode enables traditional Mid/side mode
‘wide’ sound of all pop and most club music. panned effects, while M-S mode delivers pure
It’s no great surprise, then, that in updating modern-sounding width. A handy feature is Against At this price, nothing
Electric Mistress for the new generation, D16 that when re-linking parameters, the Right/
have equipped Antresol with Left/Right and Side value jumps to match that of the Left/ A modern reimagining of a legendary
Mid/Side modes, including de-linkable Mid value; but if you later delink any of those flanger, Antresol is a must-buy for all
controls for both, imbuing it with powerful parameters again, it remembers the previous lovers of high-quality classic effects
stereo mixing potential. setting and jumps back to it, even after
The three main LFO controls can be closing and reloading the project. 10/10

100 / Computer musiC / Autumn 2015

> reviews / novation launchpad pro

Novation
Launchpad Pro £229
It’s easy to add bells and whistles, but how do you improve a device
that was celebrated for its simplicity without muddying the waters?
The original Launchpad controller for the transition. Also, you no longer need to The Launchpad Pro improves on a successful
Ableton Live (10/10, 145) appeared shortly switch to a separate mixer mode to access mix formula without sacrificing the spirit of the
after Akai’s APC40, eschewing knobs and faders controls – simply hold down the Mix function original. It also opens the Launchpad up to users
for a more rugged, pads-only approach. It button, make a change and release the button to of other DAWs, who can now program the
proved a popular concept, spawning a Mini revert to performance mode. device for their own platform (or at least use
version and a brighter RGB-equipped revision. Surrounding the 64 pads are 32 buttons, 24 of other people’s programs), and standalone
The all-new Launchpad Pro, however, takes which are labelled to correspond with a range of hardware. Live users – still the main target
things up a considerable notch. Live functions, including Session/Arrange mode, market, we assume – will no doubt remain split
The most significant development with the Record Arm, Undo, Clip Stop, Track Select, into the existing APC/Push and Launchpad
Launchpad Pro is that it’s a standalone device. Quantise, Click on/off, and toggling access to camps, but the Launchpad Pro considerably
While the Launchpad is a USB MIDI controller mixer and device functions (with parameter narrows the feature gap between them at a very
that needs a computer connection to do values set using the pads). Like Push and the competitive price.
anything, the Pro can be DC- or USB-powered, APC series, the eight buttons down the right-
operating without any attached software and hand side default to Scene-triggering duties. Web uk.novationmusic.com
featuring five-pin DIN MIDI I/O for connection to Also like Push, the Launchpad Pro ‘knows’
electronic hardware instruments. Previous whether you have a regular instrument or a
versions were capable of controlling software Drum Rack device highlighted and switches the
other than Live, of course, but this takes things pad mode accordingly, with optional Scale Alternatively
to a whole new level. locking in the otherwise-chromatic Instrument Ableton Push
Like the Launchpad and Launchpad Mini, the mode. And those velocity- and aftertouch- 191 » 10/10 » €578
primary target for the Launchpad Pro, with its sensitive pads feel great, incidentally – even Ableton’s own controller is
updated 8x8 matrix of RGB-backlit pads and 32 better than those of previous versions. In fact, exceptional, but it’s only for Live
RGB backlit buttons, is Ableton Live 9, for which the whole unit is clearly built to last.
it’s configured by default, facilitating clip There are many other nifty features and Livid Base II
launching (with matching pad colours), touches, too, such as the easy-to-use setup page 221 » 9/10 » $349
sequencing, clip and device editing, and mixing. (for adjusting things like brightness, MIDI User-customisable controller, with
The last of these has been advanced beyond the channel assignments and aftertouch controls), dedicated editing software, and
Launchpad and Mini, with the ability to tap a pad and a User setup mode for freely MIDI mapping user templates for many DAWs
on a volume fader strip, say, and have the fader almost all buttons. Nonetheless, a couple of
glide smoothly up or down to it, with the obvious Push features notable by their absence
strength of the pad hit controlling the speed of are Note Repeat and step sequencing.
Verdict
For Great build quality
Open-source firmware
Open-ended Versatile
RGB LEDs
Inspired by the way previous Launchpad hack along these lines has buttons further Standalone MIDI
versions have been reprogrammed by the from the centre of the grid playing ever more
thriving hacker community, Novation have complex chords), random sequence Against No Note Repeat
taken the bold and hugely commendable generators, arpeggiators and more. No step sequencing
step of actively encouraging people to It all suggests a very exciting future for
reprogram it, and they have made the unit’s the platform, and though it may take time With its programmable firmware and
firmware open-source. for some of the speculated standalone hacks standalone operation, the Launchpad Pro
The potential is staggering, but obvious to enter circulation, enter they surely will. is serious competition for Push, and caters
uses include making it work as a standalone In essence, Novation have built a controller to other DAW and hardware users, too
MIDI sequencer, allowing single buttons to that can only continue to improve the longer
trigger chords (an as-yet-unreleased in-house you own it. 9/10

102 / ComPuter musiC / Autumn 2015

> reviews / audiothing fog convolver

VIDEO

2 WITH
MINUTES
…

AudioThing
Fog Convolver €65
This affordable new convolution processor dares to be
different with its intriguing selection of impulse responses
The latest plugin (VST/AU/AAX) from weirder IRs are discussed in Out-there impulses). and thus without a major impact on workflow.
boutique developer AudioThing, Fog In terms of reverbs, the emphasis is on lo-fi Those niggles aside, Fog Convolver sounds
Convolver is a convolution processor built on an rather than high-end, with a number of IRs excellent, is blessed with an impressively
impulse response engine and library with 254 captured via TC Electronic’s Fame pedal, some intuitive interface, and comes in at a very fair
presets and 254 IRs. The interface is fairly self- from Alesis’ Quadraverb, and others from price. Potential buyers just need to be aware
explanatory, with adjustable parameters and a various spring reverbs, stompbox chains and that it doesn’t offer (or claim to offer) the usual
waveform display at the top, and the IR browser quirky real-world spaces (hall, shed, tunnel, convolution staple of high-end reverb – for that,
at the bottom. Controls include Pre Delay balcony and so on). So, if you’re after regular you’ll need to import your own IRs.
(0-200ms), IR Stretch (0.5-8x), HighPass and reverbs and classic reverb units, you’ll need to
LowPass filters (20Hz to 20kHz for each), and source and import your own IRs. Web www.audiothing.net
separate sliders for input Gain, Dry level and Wet
level. The IR can be further shaped by editing Transform-a-sound
Start and End points, and Fade In and Fade Out Fog Convolver also includes a number of IRs
slopes with convex/concave Curve adjustment that you’d use to completely replace your Alternatively
for each. Usefully, the central waveform display source signal, such as speakers (radio, tape AudioEase Altiverb 7
updates to indicate changes made by all recorder, telephone, ear bud, etc), microphones 178 » 9/10 » €499
parameters, including filters, Pre Delay, IR (dynamic and telephone) and other devices The daddy of convolution reverb
Stretch, and Fade In/Out, so you can see as well (Type B Exciter and Multitrack Cassette with a price to match, Altiverb also
as hear all of your edits. Recorder, for example). Finally, there are also has a mindblowing IR Library
The Play button enables easy auditioning of some instrument samples (shakers, bongos and
the loaded IR, while over on the right, the Rev marimbas, to name but three) and a few synths, LiquidSonics Reverberate
button reverses it. Meanwhile, the Settings page including both sequenced and one-shot sounds 142 » 9/10 » £50
includes a ‘Load IR only’ option, letting you keep from an analogue modular. True stereo IR processing plus post
all your interface parameters intact while The IR content is a mixed bag, and although effects – check out the version
changing the impulse response. You can add we found some of the reverbs perfectly useable, to see what this one is capable of
further IRs in WAV format, and export edited IRs and the stompbox chains good fun, hunting
as WAV files. through the various folders for the effect you’re
With over 250 presets arranged across a after can be laborious. Also, slightly frustratingly,
number of categories, from Spaces and pretty much all parameter changes, including Verdict
Microphones to Speakers and Gear, Fog the filters, result in the IR being re-calculated,
Convolver covers plenty of ground (some of the which interrupts the audio output – albeit briefly For Real-time waveform update
Quick IR recalculation after
parameter changes
Good selection of unusual impulses
Out-there impulses Export of modified IRs
Import of WAV IRs
Fog Convolver includes a number of odd IRs, longer IRs in the Instruments folder. Highly affordable
but how much use are they in practice? The Objects and Organic folders house
For full-on sound transformation, we some interesting everyday sounds that can Against Lacks regular reverb IRs
inserted it on a track with the dry signal at be loaded as IRs, including paper being torn, Audio drop-out during recalculation
zero and loaded some basic drum machine- aluminium foil being screwed up, dripping
generated beats as source material. The five water, food frying and so on; and for rhythmic The lack of posh reverb IRs is an obvious
IRs in the Designed folder are all ambient effects, a number of the synth inclusions are weakness, but for weird sound design and
textures, roughly ten seconds long. By sequences. Although these all sound quite experimentation, Fog Convolver is a
switching between kicks and hi-hats on the obvious in isolation, it’s still possible to create powerful and endlessly interesting plugin
fly, we got organic, evolving sounds. We new sounds with them, the effectiveness of
achieved similar results using some of the which, again, depends on the source material. 8/10

104 / Computer musiC / Autumn 2015

> reviews / blue cat audio dynamics 4

VIDEO

2 WITH
MINUTES
…

Blue Cat Audio

Dynamics 4 €149
Already touted as “the most flexible all-in-one dynamics
processor”, how can the Cat’s latest possibly get any better?
Like its three predecessors, Blue Cat’s Oversampling (x2 and x4) helps to reduce also upwards compression – bringing up the
Dynamics 4 plugin (VST/AU/AAX/RTAS/DX) is aliasing, particularly with fast attack times, at ghost notes of a snare drum, for example.
a flexible dynamics device capable of delivering the cost of CPU. A brickwall limiter on the output Dynamics 4 may not be in any way
compression, limiting, expansion, gating and is a useful addition for protecting ears and revolutionary, but Blue Cat aren’t far off in
waveshaping. With its dual threshold curves, it speaker drivers, and the Dry/Wet knob enables claiming that it’s the most versatile dynamics
can compress and expand at the same time – parallel processing. processor around. More than the sum of its
although since the two share attack and release The metering is flexible, with several zoom parts, it’s a detailed and precise device that’s
settings, this is less useful than it may seem. The levels into the gain reduction meter, which also the dynamic equivalent of a surgical EQ. To
detection character is continuously variable has a histogram view; while the timelined match this potential power, though, you do need
between smooth opto and fast VCA styles, and envelope view shows the gain reduction in a solid understanding of dynamics control and a
the detection mode morphs smoothly between relation to the incoming waveform. Separate good ear to get the best out of it, but if you
transient peak and RMS average loudness. input and output meters complete the picture. qualify on both those counts, this is pretty much
As well as the expected Attack and Release a must-have.
controls, the Peak Envelope panel parameters How rude
also include Hold, setting the time after which Although Dynamics 4 can work as a polite Web www.bluecataudio.com
the release curve activates; and an additional leveller if you want it to, it’s really anything but
Shape parameter for the attack and hold curves that. It coughs, spits and grunts, and can get
(see New in 4). RMS mode, meanwhile, has a interestingly lairy. This aggressive impression is Alternatively
time envelope determining the window within helped and perhaps flattered by the over-
which the average signal level is taken. zealous automatic gain compensation, which DMGAudio Compassion
The sidechain features high- and low-pass brings the loudness up way beyond where a 166 » 10/10 » £150
filters to adjust frequency sensitivity, as does the manual adjustment by ear would take it – so A dynamics plugin with a
main input, although we’re surprised there are much so, in fact, that flicking in the output hard similar level of versatility, but
no filters on the output, too, for controlling limiter is well-advised, especially if you move no double threshold system
harmonics generated by the waveshaper. into waveshaping experiments with peak, VCA
Complementing the new external sidechain, and fast envelope settings, when the distortion Kush Audio UBK-1
there are two modes of stereo operation: left/ harmonics can get positively rude. For an easier 176 » 9/10 » $149
right and mid/side. Each mode offers several ride, moving the sensing towards the RMS and A compressor with a similar
options for linking the left and right signals in opto styles calms things down somewhat. attitude, dressed up in retro togs.
the sidechain: Average, Min, Max, Flip, Use Left The lower of the two threshold curves is a But not as surgical as Dynamics 4
and Use Right. great addition, not just for orthodox gating but
Verdict
For Integrated external sidechain
More for v4 Can do OTT compression/waveshaping
Excellent metering
A quick glance at v4 suggests only a new improved, with the envelope view giving a Compress and gate with dual thresholds
lick of paint has been added since v3, but up useful way to see how the input waveform is Smooth transition between Peak/RMS
close, it’s a different story. being affected over time, and better gain
First, under the bonnet, the algorithms change metering via a histogram display. Against We’d like to see output filters
have been completely revamped, resulting in The rate of change of the attack and Over-flattering output makeup gain
a couple of new controls (threshold Depth release times can now be adjusted with their
and envelope Shape) and more transparency. respective Shape knobs: negative Shape With its flexible, powerful approach and
There’s integrated external sidechaining – values give a more exponential curve, and superb sound, Dynamics 4 could easily
previously a clumsy affair involving positive ones a more logarithmic response. become your go-to dynamics plugin
secondary plugins – including filters and a This allows truly subtle changes to the
listen facility. Visual referencing has been energy and feel of the resulting compression. 9/10

106 / Computer musiC / Autumn 2015

 EvErything you
nEEd to create,
mix and master
in Logic Pro X

148
PAGES OF PoW
INC
Er tiPS!
LUDES FrEE
vidEo & Audio
DOWNLOAD

FROM THE MAKERS

OF
> reviews / acon digital defilter

VIDEO

2 WITH
MINUTES
…

Acon Digital
DeFilter $100
The Norwegian developers have released a plugin to right EQ wrongs;
but what qualifies as ‘wrong’, and does it actually improve anything?
Automatic EQ has been with us for some Filter and Remove Resonance, and you can save and can genuinely enhance intelligibility on
time now, so you’d expect it to be improving your own. poor speech recordings by effectively
with age. Acon Digital’s DeFilter plugin (VST/AU/ DeFilter’s interface and layout are very clear smoothing out unwanted resonances. With
AAX) analyses your material, be it a full mix, a and intuitive. The EQ/spectrum analyser display musical material, though, it’s often less effective,
vocal, a room recording or anything else, and shows both the frequency profile of the requiring much trial and error to get useable
assesses the tonal imbalances present in it, such incoming signal and the corrected output, as results, and even then, the subjective nature
as those caused by standing waves, comb well as the active Filter Curve. of EQ means it might just be ‘different’ rather
filtering and instrument resonances. It then than ‘better’. For matching the frequency
smooths out those anomalies using a mirrored Same but different profiles of reference tracks, it does a reasonable
counter-EQ curve. You can also analyse a Getting good results from DeFilter is, like many job, and can help steer you in the right direction,
reference track and apply its frequency profile such matching EQs, a hit and miss affair. but ultimately, for corrective EQ, it’s still hard to
to another – certainly impressive on paper! Correcting anomalies in speech proves more beat a good pair of ears, knowledge of the
To use DeFilter, simply hit the Learn button successful than fixing problems with music, but processes involved and experience.
and play all or some of your source material – the result with either is often just… different –
preferably the loudest and busiest section – for not necessarily ‘better’ or ‘worse’. For example, Web www.acondigital.com
between 15 and 30 seconds. The Signal Level correcting a speech recording made in a very
Threshold knob is used to dial out the noise roomy environment helped with intelligibility
floor, which would interfere with the analysis but did little to reduce the roomy sound; while Alternatively
process, and you can also adjust the Filter applying DeFilter to a recording of a band made Zynaptiq Unfilter
Length – the longer it is, the better the response, on a handheld digital recorder didn’t improve it 196 » 9/10 » £265
at the expense of CPU cycles. The resultant filter at all – in fact, it often hurt the sound, tending to Similar aim of straightening out
curve can have emphasis added to suit the make it thinner. wonky frequency response, but
material being processed. The Custom option, Matching the saved EQ profiles of favourite gives better results – at a price
meanwhile, allows you to load a saved reference songs fared a little better, but this would be
curve for EQ matching. more useable if you were able to manually MeldaProduction MAutoEqualizer
An emphasis curve lets you narrow the area shape the EQ profile to refine the filter process. N/A » N/A » €149
of filter correction to a specific frequency range, However, the analysed Filter Curve was useful as More focussed on matching the EQ
so you can keep certain areas unaffected. a visual aid for identifying tonal peaks and profiles of one track to another
A number of analysis presets are included troughs – information that can then be used to than on fixing room resonances
as starting points, including Auto-Equalise guide the manual application of EQ.
Speech, Auto-Equalise Music, Remove Comb DeFilter is easy to use and very well designed,
Verdict
For Easy to use
Under the hood Clear filter displays
Helps to make speech more intelligible
The Filter Curve that DeFilter arrives at is, of are deemed to be from the actual source Store your own user profiles
course, dependent on a good set of analysis material – a person talking or singing, or a
tools scrutinising the material and musical instrument changing notes and Against Results are hit and miss
determining what’s ‘bad’ and what’s ‘good’ – chords, for example – and so are left alone. Can’t refine the Filter Curve manually
and that’s no simple task. This seems to be as deep and musical as Analysis doesn’t consider musicality
The engine responsible for this process the analysis process gets, and so for certain
analyses the audio and finds the frequencies types of music – for example, minimalism Solid EQ matching, though the ‘defiltering’
that remain constant over time, which it and many ethnic styles that involve drones process is better on speech than music,
deems to be added in from such things as and held chords – DeFilter is as likely to have where it’s as likely to hurt as it is to help
room resonance and other interferences. a destructive effect as it is an enhancing one,
Time-variant frequencies, on the other hand, so must be applied with caution. 7/10

108 / Computer musiC / Autumn 2015

> reviews / mini reviews

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

KV331 Audio
HANDS-ON
synthmaster 2.7 $99 VIDEO
See – and hear! –
SynthMaster 2.7 at:
bit.ly/CMSM27Vid
Web www.synthmaster.com styles. Three ‘Bend’
Format PC/Mac, VST/AU/AAX algorithms let you contort
the waveform with Massive-
This semimodular beast of a synth has enjoyed a style Bend+/- for awesome
steady stream of updates since our 10/10 review vowel-like timbres, whereas
of version 2.5 ( 174), in which we labelled the five ‘Sync’ algorithms
SynthMaster a ‘desert island synth’ for its produce soaring oscillator
magnificent sonic range and versatility. In that sync sounds with various
time, the synth’s popularity has risen, but fierce windowing shapes. There
competition such as Xfer Records’ Serum, are also ‘Pulse 1’, ‘Pulse 2’
MeldaProduction’s MPowerSynth, and Synapse and ‘BitCrush’ algorithms
Audio’s Dune 2 have pressured KV331 Audio to for PWM-style contortions
continue expanding SynthMaster’s already and waveform resolution
astounding palette of synthesis capabilities. reduction, respectively. the iOS version of SynthMaster.
This latest update is perhaps the most Other additions include a new Voices tab This is a humongous update that includes
significant to date, with improved analogue filter (which lets you dial in oscillator unison detune new presets (tipping the total over 1000) and
algorithms and new features in the oscillator nuances) expanded Modulators (which can now plenty of bug fixes. There are still a few minor
section. Most notably, the Oscillator Algorithm be used as additional sub oscillators) and the bugs floating around, but none of these are
field lets you ‘warp’ waveforms in various ways, Nonlinearities parameter in the filter section showstoppers, and KV331 Audio assure us that
chosen from a menu, similar to Serum. This that offers three levels: Low CPU, Medium CPU the maintenance updates will continue to flow
means that SynthMaster’s old ‘Tone’ knob is now and High CPU. The Wavetable Oscillator display for the foreseeable future. All in all, a
not just a low-pass, but a multipurpose knob, as has also been updated – now the mouse wheel multifarious and fantastic-sounding synth that
you can select from seven ‘Spectral’ filter types can be used to select waveforms for the 16 slots. still lives up to its name in 2015.
as well as various other Oscillator Algorithm Finally, preset banks can be saved out for use in n9/10n

Big Fish Audio

Ambient Black & White Bundle £280

Web www.timespace.com we’re rather disappointed that a

Format PC/Mac, Kontakt 5/Player year and a half since Zodiac,
Funk Soul are still content to
Produced by Big Fish in conjunction with Funk build on such half-hearted
Soul Production, this twin pack of Kontakt Player foundations.
instruments (also available separately for £139 Fortunately, what they clearly
each) takes on the darker, moodier side of lack in scripting chops, they
aerated electronic production with Ambient make up for in sampling and
Black, and the lighter, prettier aspect with production prowess. There are
Ambient White. Instrumentation-wise, both some truly jaw-dropping sounds
feature roughly the same patch categories to be found here, particularly
(drones/pads and atmospheres, basses, among the atmospheres and
percussion, melodic instruments, loops, etc) and melodics. The stars of both
draw largely on recorded and found material, libraries are the Multi-Layered
with some synthesis. The differences between Instruments, which thoughtfully
their sounds within those categories, however, combine pairs of patches from
are profound, Black’s atonal, edgy, industrially all categories.
influenced noises contrasting beautifully with Back on the down side again,
White’s chilled-out, harmonious musical tones. there’s wide variance in the
Like Funk Soul Production’s last release, application (or not) of
Zodiac (8/10, 200), the two scripted Kontakt multisampling, with many of the patches In their stylistic juxtaposition and sheer sonic
engines are very primitive. Black features stretching single samples across the note range, quality, Ambient Black & White make a very
amount sliders for Distortion, Low-Fi and Limiter and lots of the multisampled ones having only successful team, but inconsistent multisampling
effects, White sports ADSR envelope controls, one velocity layer. The drums and certain FX and an underpowered interface do rather let the
and both include a convolution Reverb (with a patches, meanwhile, are presented in ‘menu’ side down, undermining the relatively high price
choice of ten IRs), Bass and Treble controls, and format, mapping separate sounds up the and not doing the sublime samples justice.
a feedback Delay. Not terribly exciting, then, and keyboard, which is handy. n8/10n

110 / Computer musiC Autumn 2015

 mini reviews / reviews <

HoRNet
HDD1 €10

Web www.hornetplugins.com looping it when activated. In Stereo Mode,

Format PC/Mac the dry signal is output through the left
channel and the wet through the right,
HoRNet’s latest pocket-money plugin (VST/AU/ enabling Haas-style stereo effects with very
AAX) is an emulation of the Boss DD-2, which short delay times.
was notable for being the first digital delay The Feedback knob dials in the amount of
guitar pedal when released in the early 80s, the delay processor’s output signal sent back
and thus is – by design – decidedly limited in into its input, and the combination of virtual
features and functionality. analogue signal path and 12-bit digital delay
The effect is bypassed and unbypassed using buffer impart more and more degradation
the big ‘pedal’ button at the bottom, with the with each pass through the feedback circuit
Check LED lighting up when it’s active; and the – although this isn’t quite as pronounced as
wet output level is set by the E Level knob. we expected.
Setting up the delay itself involves the With pre- and de-emphasis filters in the
charmingly anachronistic process of selecting circuit and a 7kHz roll-off, HDD1 is every bit
one of three base delay times – 50ms, 200ms the ‘dirty’ delay, and that raw sound alone
or 800ms – then offsetting it with the D Time makes it worth the meagre asking price.
knob, giving an actual range of 12.5 milliseconds However, as with certain other HoRNet plugins,
to one second. Alternatively, host sync can be the noise added by the Analog Hiss switch is so
turned on instead, snapping the delay time to low-level as to be pointless, and we just couldn’t
1-8 16th-notes, as set in the Tempo Sync menu; discern any difference between the Analog such gear could afford to take a punt, HDD1 is
or Hold Mode can be used, filling the buffer Saturation switch being on and off. kinda weird and old-school, but definitely has a
with the last 200-800ms of signal (depending Very much one for retro fetishists, but so sound that’s worth hearing.
on D Time) when the delay is bypassed, and cheap that even those with a passing interest in n8/10n

Native Instruments Vir2 Instruments

Brass solo £249 Apollo Cinematic
Web www.native-instruments.com
Format PC/Mac, Kontakt 5/Player
Guitars £280
Web www.timespace.com
One half of NI and Format PC/Mac,
SoundIron’s Symphony Series Kontakt 5/Player
Brass pairing – the other
being Brass Ensemble – Brass This 24GB ‘textural’
Solo (30GB) lets you get sampled guitar library is
hands-on with solo trumpet, split into five categories,
French horn (with two each with a scripted engine.
soloists provided), trombone Swells are major and minor
and tuba, plus a Brass strummed chords, with
Quartet instrument envelope/LFO modulation
combining all four. The six plus supplementary
NKIs for each instrument (Master, Sustain, Legato, Staccato, chromatic single-note patches. The Pads engine mixes two
Expression and Effects) add up to a comprehensive set of pad layers from an extensive menu of samples, again with
switchable articulations for creating realistic solo brass parts, envelope and LFO modulation of each. Ambient Designer is
although the key to a convincing performance lies in the highlight, enabling incredibly intricate beds and
knowing how the source instruments are played, and ambiences; and Latch mode, per-group mixing and one-note
manipulating the Dynamics, Attack, Release, Tightness and “Full Mix” playback make sound design fun and productive.
Vibrato controls to introduce those essential human nuances. Finally, the Phrase Builder and Instruments categories contain
Further editable parameters include Legato Response; a range of performed phrases and multisampled guitars.
Repetition, for runs of repeated notes; the timing of rhythmic With a decent set of effects onboard, an Amp Head section
articulations; four mic channels; and EQ, Reverb, Compressor for easy EQ and volume control, and, most importantly,
and Filter effects. Programming authentic brass lines is never fabulous recordings at its heart, Apollo gives the ambient/
going to be ‘easy’, but SS Brass Solo makes it as intuitive and chillout/soundtrack producer a source of deeply manipulable
straightforward as we imagine it can get, and sounds superb. guitar-based sounds that are endlessly diverse and expressive.
n9/10n n10/10n

Autumn 2015 / Computer musiC / 111

> reviews / mini reviews

Soundware round-up
Sample Tools by Cr2
tropical House £13
Cr2’s sun-splashed 1.2GB genre library (plus 700MB of
tutorial videos) may not break any moulds, but the
production is up to their usual standard, and there’s
plenty of material here for the money – as long as
you’re happy with two thirds of that amount consisting
of eight diverse ‘Songstarter’ construction kits. Other
than that, you get drum loops and hits, basses, synths,
music loops, FX, Massive presets and MIDI files, and if
tropical house is your thing, this currently stands as the
definitive soundware pack in that particular scene.
sounds.beatport.com
n9/10n

Wave Alchemy
mainroom techno & tech House £35
This 1.1GB pack of loops, hits, MIDI files and sampler
patches is aimed squarely at the tech house crowd,
and there’s lots here to keep them interested. The
drum, bass and percussion loops, and sound effects
are our highlights, but the vocals, synths and tops
don’t let the side down at all. There’s a high degree
of consistency throughout, too, and the one-shots
folder is full of useful drum, bass and synth hits. An
energetic, effervescent library of funky rhythms and
impactful sounds.
www.loopmasters.com
Sample Magic n9/10n

Bloq £45
FXpansion
Sample Magic’s debut instrument Cinematic Drums £34
release comprises separate Drum Produced by Jacques Mathias, this 2GB soundtrack-
orientated Geist expander is geared up for the
machine and Synth NKIs for Kontakt 5 construction of big, bombastic ensemble drum parts
– think action movie battle scenes and the like. A wide
(also available in Live Rack and EXS/ range of kicks, snares, toms, hi-hats and cymbals are
presented both individually and in pre-mixed stacks of
Ultrabeat for Logic formats), built on an 30, 50, 60 and 90 hits. 26 pattern banks are also
included, making Cinematic Drums a genuine one-stop
impressive array of classic machines. shop for enormous widescreen drums of the kind that
would otherwise take ages to put together.
The scripted engines feature step www.fxpansion.com
n9/10n
sequencing, effects, good modulation
options for Synth and free mixing and
Native Instruments
matching of up to eight sounds at once Lone Forest £44
for Drum. Many of the Synth controls The spacious, electronic sound of dub techno is the
focus of NI’s latest Maschine Expansion, which packs
are ridiculously small and fiddly, but 505 samples, a ton of Reaktor Prism, Massive and
Drum Synth presets, and 23 patches for Monark (added
that’s our only complaint. Bloq sounds in with Maschine 2.3) into its 40 Kits and 52
Instruments. The overall sound is dark, sinuous and
great, works well and hits just the right ‘electronic’, with lots of effects processing employed
across the board, as you’d expect. This not only makes

price point. the whole thing sound extremely polished, but gives
great potential for reductive sound design, too.
www.native-instruments.com
www.samplemagic.com
n9/10n
n9/10n

112 / Computer musiC Autumn 2015

 mini reviews / reviews <

Samplephonics Niche Audio

raw Jungle £35 pure Analog £25
Samplephonics are looking to bring the classic sounds Incorporating 296 samples, this tightly produced
of jungle up to modern production standards with this library for Ableton Live and NI Maschine has been
library of 235 loops and 300 one-shot samples. The made using nothing but analogue synths, drum
result is a collection of familiar loops, breaks, tops, machines and outboard. Live users get 13 Drum Racks,
basslines, pads, synths and FX made clearer, louder 75 Simpler presets and 12 projects, while Maschine
and more polished than you remember them. The heads can enjoy 15 Groups and five projects. There’s
essential energy and roughness is still there, though, tasteful processing, so good scope for customisation,
and it’s clear that the producers really do love and and with the full gamut of sounds represented (drums,
know their old-school DnB. We’d have liked rather basses, leads, FX, etc), this is a versatile and well
more in the Vocals folder, however. recorded – if unspectacular – resource.
www.samplephonics.com www.loopmasters.com
n8/10n n8/10n

Sample Magic Mode Audio

Dusty House £35 Analog snap
This 1.1GB library of loops, hits, mini construction kits,
MIDI files and sampler patches takes its conceptual
percussion samples £15
cue from “vinyl sampling and crate-dug cuts”, bringing 251 samples from an EMS Synthi A went into this
to mind the likes of eLab’s seminal Smoker’s Delight. collection of drum kits for Reason, Logic, Live and FL
It’s a triumph from start to finish, infusing a central Studio – we’re looking at the Live version. The main
house theme with the vibes and instrumentation of Drum Rack lets you choose samples for each slot via
jazz, soul and funk to create an inspirational its Macro knobs, and 12 preset kits and five very useful
sweetshop of drums, basses, atmospherics, vocals, Effect Racks are included. The samples are glitchy,
melodics and so much more. If you make dance music crunchy and unapologetically synthetic, and as long
of any kind, Dusty House demands your attention. as you approach Analog Snap as a ‘percussion’ rather
www.samplemagic.com than ‘drum kit’ library, you won’t be disappointed.
www.modeaudio.com
n10/10n
n8/10n

Toontrack Samplephonics
indiependent sDX £99 ultimate rides Collection £35
Expanding on Toontrack’s Indie Folk EZX (9/10, 193), One of the most organised sample libraries we’ve ever
Indiependent SDX for Superior 2 works up the original seen, URC has drummer Joost Hendrickx playing a
recordings of that library’s three kits and two newly variety of rhythms on five ride cymbals – by
added ones (Sonor and WFL) into a 25GB treasure Bosphorus, Istanbul and Zildjian – at five tempi
trove of beautifully rendered vintage drums from the between 80 and 170bpm. The loops are supplemented
40s, 50s and 60s. The detail in the samples is by reverb tail samples and a full set of one-shots for
astounding, the kits sound wonderfully natural making your own patterns. The rides themselves
(although we’re still not totally sold on the calf-skinned sound sufficiently different to each other, Hendrickx’
Slingerland), and 16 mixer channels give an incredible playing of them is ace, and it all hangs together very
level of control. One of the best SDXs yet, for sure. well, but we think the price is a little high.
www.timespace.com www.samplephonics.com
n9/10n n9/10n

Control Sounds Zero-G

main stage techno power £16 Desert tracks £56
Keeping it simple and effective, Main Stage Techno Desert Tracks attempts to fuse Middle Eastern and
Power comprises seven folders of loops (Bass, Kick, North African traditional percussion with modern
Percussion, Synth, FX, Top and Vocals) that completely production sensibilities, but sounds so obviously
nail their stated genre sonically, rhythmically and programmed that much of the time it comes across as
melodically. With all the loops at 125bpm, and the a musicological demonstration rather than a set of
synths and basses labelled by key, you can come at realistic performances. The percussion-only loops
MSTP as a huge construction kit for creating complete might be OK in the context of a mix, but the Themes
tracks in minutes, or an eminently plunderable source sound more comical than authentic, the Contemporary
of elements. Either way, it’s a fantastic collection of folder messes things up with its tacky drum sounds,
varied, interesting, mix-ready material. and don’t even get us started on the Oriental Strings…
sounds.beatport.com www.timespace.com
n10/10n n5/10n

Autumn 2015 / Computer musiC / 113

> make music now / blast from the past

blast
It may not have been the most popular
from
the past © image courtesy of
perfectcircuitaudio.com

or beloved of the classic polysynths, but

Yamaha’s wild and wooly CS-80 was
nevertheless a heavyweight champion

Yamaha CS-80
Polyphony was something of a holy grail A closer look reveals the power lurking
for the synth makers of the late 70s. beneath, with a trap door concealing Yamaha’s
Weened on a meagre diet of monosynths for answer to patch recall: four nearly-complete
tech SPecS
nearly a decade, synthesists longed for a miniature copies of the front panel. 22 colourful Year of manufacture
1976-1980
workable way to play polyphonically – that is, switches allow access to presets, including an
Original sale value
with chords. Sure, there were a few string instantly recognisable brass sound.
£4950
machines, but these were paraphonic, For the serious synthesist, the CS-80 offered
Current price
employing octave dividers to produce two complete and independent signal paths, £14,000
multiple pitches and then simply running the each consisting of an oscillator routed into a pair Number made
lot through a single filter and VCA. of filters (one low-pass, one high-pass) and ADSR Approximately 2000
For many, Sequential Circuits’ Prophet-5 was envelopes. You could create two completely
the answer to their polyphonic prayers. different patches, one layered on another.
Released in 1977, it offered five-voice polyphony Thanks to a staggeringly complete set of entirely on their own – the CS-80 may be the
and instant recall of user patches. A huge seller, performance features, even the presets could be most notoriously cantankerous synthesiser ever
the slick and elegant Prophet-5 received a lot of tailored. Polyphonic aftertouch responded in a made. It went out of tune when transported, or
attention in the press and graced many a stage. natural, musical way to the player’s pressure on when the temperature changed – and it changed
Yet Yamaha had been there first. Let loose in the keys. Oh, and the keys were velocity- every time you turned the thing on! Though
1976, the bulky, garish CS-80 was the antithesis sensitive to boot. It’s a keyboard that has rarely many famous players hauled ’em out on tour,
of Sequential’s Prophet. A huge Tolex-covered been bettered and proved to be a major selling the wisest CS-80 owner left it safely at home in a
enclosure housed a front panel festooned with point to players desiring more than the limited temperature-controlled studio. Thankfully, the
brightly-coloured rocker switches and paddle note on/off of other synths. few virtual incarnations alleviate this most
levers that looked as if they’d been pulled from And then there’s the ribbon controller, troublesome aspect of the mighty CS.
one of the company’s home organs. One of our spanning over half the length of the keyboard, What does it sound like? Think Vangelis’
own contributors once passed on a CS in a allowing you to, say, touch the felt ribbon near Blade Runner and you’ve got a pretty good idea.
shop thinking that was precisely what it was! the top and swoop down the whole length of the Other users included Eddie Jobson (Alaska),
This impression was made stronger by the thing, taking your oscillators’ pitch with you. Jean-Michel Jarre, Toto (on Africa and Rosanna),
chrome legs that support its 100kg bulk. Mind you, the oscillators might just do that and Ultravox.

Three expressive CS-80 emulations

EE
0
9
$9

$4

FR

ArturiA CS-80V MeMoryMoon Me80 MA Lord Cees80

One of Arturia’s earliest emulations, the The sole commercial competition to Arturia’s Reaktor users can get a taste of the CS-80
CS-80V (VST/AU/AAX) has matured into a CS-80V, Memorymoon’s ME80 offers all of experience with this recreation found in
superb package with plenty of extras to bring the features of the original. It was initially the Reaktor User Library. It may not have
more power into play, including a superb built with SynthEdit but has since graduated faux wooden panels or rocker switches,
modulation matrix that offers 13 sources and to full 64-bit native code for both Windows but it does recreate the entire signal path
a whopping 38 destinations. Chorus, tremolo and Mac users. If you happen to own of Yamaha’s legendary synth, making it a
and delay effects have been added, as has an Acoustica’s Mixcraft Pro, you already have cinch to create some of the sounds made
arpeggiator. A powerhouse performer. this beauty in your plugins folder. famous by the real deal.
www.arturia.com www.memorymoon.com bit.ly/CeEs80

114 / Computer musiC / Autumn 2015

9012