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Bundle 10 iI:xJ ?;*:;t:i[]:"'n''' We dive in to Cubase 6's to Compression
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 Pro Producers GuideTo Compression lFeaturc

24
&1 t
1E

DO: Avoid extreme

settings to begin
with, if you are just
trying to control
dynamics.
BONT Just add
compression to every
channel by default.
Start off with
minimal
compression, and
carefully choose
where to add
F2 I '
compressors. t'jf :,f
"p
t{!j;- I;'lr' :j,i
1t ;'i
' ; ! : -'

DO: Experiment with

different types of
compressors
hardware and
- Compression
software. There can
be quite big
differences between
is Complex
them all.
DOilT Forget to Every setting affects the
bypass the
compression way the others sound
occasionally to
check you're getting
a good result. I f vou follow the 'car 1n music. the ratio needs to be

DO: Remember to I ,uro.'r,on dnalogy -se

t'rough. high enough to control the signal
Ia' un,,l,' ou cx,v reol tris s a level in the way you want but not so
balance the output heavy that the life and energy of the
I u.'y compl'cated syslen .

gain so the level I because all the o flerent musrc is squashed out.

doesn't change when I controis interact with each Car suspension needs to react
other, and give different results fast to new lumps and bumps if it
you hit bypass - that depending what the source s gnal ts. has a s ow 'attack trme', you' I feel

way you get a fair They need to be carefully the bump before the springs have
balanced to get the 'ride' to feel had time to squash and absorb the
comparison. right. This is why learning shock and impact. lt needs a fast
release time too. to allow the wheels
DOI{T Be afraid to compressron can sornetlmes be tricky
to follow the surface of the road
et s look at some exanples. usrng
experiment. Some of the suspension analogy. closely, otherwise you get a
the greatest sounds A family car probably needs a soft noticeab e'bounce'. afterwards.
suspension. The ratio needs to be In the same way, n music the
in the history of high enough to absorb plenty of attack trme of a compressor needs to
recorded music energy and smooth out the ride but be fast enough to catch the changes

came from misused if it's too high, the suspension will in ,evel a^o I lhe'elease ltn e is
feel too stlff, and feel lolted
you'11 too ong, you'll hear tt 'bounce'
and abused around inside because there isn't afterwards, too - especially on
compressors! enough'play'rn it. drums, for example.

FutureMu$c
@
 Feature lThe Pro Producers Guide To Compression

The 'threshold' needs to beset I to come through. This is exactly the

right so that car suspension works scenario for a smooth ride in a
when it's needed. lf the car is heavily standard family car
loaded, it may be sitting low onthe ] But now imagine you want that
suspension already, so the springs are I classic 'pump and suck'sound that
always working - and if you hit a Daft Punk used on One More lime,
really big bump, there may not be or the Beatles often used on Ringo's l
_t
enotq! play lC.S-to absorb the drums. That's achieved using a "-a
,"
imffi. ftriE@rld be equivalent to
.iii'E
compressor with a high ratio, fast rO"ll f "a
\!:,
.1:l1r=
o
.C I
'
l:*l ui attack and a +$ \1' .

long release. '"f .n

H*just as valid to ,,J:;:U... 4

ignore all the rules ;::',:'lJ;x-''

and choosg the i;;::ff5:"

'wrong'seffiffi
'wrong' settings ilil*J
;;il:il"
,,,.,{'.' $ll graduallY
setting the threshold level too low on smti.*hing C.iit'6gain aftenrvards.
a compressor. ,it:-,:$o, tfrdi$s of thumb we've

Whereas if the threshold istoo ] discussed so far are only the

high, the compressor hardly does beginning of the story. Like all
anything - I suppose this would be processrng in audio recording and
like a car that wasn't heavy enough 1 mixing, it's just as valid to ignore all
for the springs to ever do any good! the rules and choose the 'wrong'
r Settings as it is to do things by the
book - if it sounds right, it is right!
And this is where things get ]

interesting, because so far I've only

talked aboutconservative ln general, different compressors
compression settings. But thereare tend to sound different compressing
in r the same signal, even with the same
plenty of times using compressors
music where you want settings that I settings. And some engineers will
would make no sense at all designing choose to use compression to add
the suspension in a car. 'character'to the sound, rather than
'Conectly' used compression - to control it
that is, used purely for dynamic 'Character' is hard to define,
control - is like designing car though. lt can mean the effect that
suspension. A great example is i dynamic control has on the sound -
compressing bass - you would often for example a well-compressed vocal
use a high ratio with a fast attack and can sound full, warm and intimate,
release time to catch the initial when the original sounded thin, hard
'pluck' of the plectrum but then and distant - or, it can mean the
allow the tone of the rest of the note particular sonic characteristics of a
hardware compressor. The valves of a
Fairchild, or the lightning-fast attack
time of a Urei 1176, for example.
The key is to realise that the rules
of thumb suggested in this article
apply to straightfonvard
' mathematical' software compressors.
Don't expect a 4:I ratio on Logic's
compressor to sound the same as on
a classic hardware unit, or even a
modern software emulation.

Datt Punk's One More

fme is a great example
of high-Etio, fast-attack
compresion
:l
r
,&
wl

#4
 The Pro Producers Guide To Compression I Feature

Limiting
A limiter is a compressor with a very high
Affordable Software
ratio - typically more than 20;1 - and very
fast attack and rclease times. Limiters are
olten used in mastering because they offer
Alternatives
a great way to control unwanted peaks and Luckily there are great emulations of these becoming available - UAD-2
spikes in the sound, meaning you can use
slower attack times elsewhere.
plug-ins specialise in this, although you do need one of their hardware
units to run the software.
Multiband compression
Sometimes used on an entire mix during
mastering, a multiband compressor splits

tffi
the signal into several different lrequency
bands, and applies compression to each
one separately. Multiband compression
needs to be used with caution, thougfi -
the right amount can pull a mix together
nicely, but too much remove intemal
dynamics and end up with nothing but a
confused, over+ompressed mush. What You Massey CT4 Waves Stillwell McDSP
Already Have Many people swear by Renaissance Rocket CompressorBank
The truth is, the the Massey plug-ins, Compressor Compressor The CompressorBank
Multiband compression in action. and 'lite' versions are Somewhat of an Stillwell's Rocket offers a huge range of
built-in compressors
of most modern DAWs available to try out for 'industry standard' if Compressor makes different emulations
Sidechain compression like Logic and Pro free but even the full the world of plug-ins the bold claim of i na si ngle pl ug-i n, a
Some comp€ssors can be set up to react
Tools LE will do a version is a steal at has such a thing. 'offering analogue unique'Bite'control
to the input from another channel - the
great job of only $69. Try it out lncludes an optical character in a digital and has an army of
sidechain. This external eftect triggers the
controlling dynamics for yourself. emulation mode. plug-in'. All Stil lwell loyal fans.
compressor. Use fast attacks, high ralios
More expensive, but pl ug-i ns are avai lable
and a longer release time - and make sure - make sure you've
the effect works in time with the music. mastered using these watch out for as trials, and are very
Heavily EQ€d tracks can also be rouled before splashing loads promotional offers on affordable if you like
to a sidechain and used as a crude form of on expensive the Waves website. what you hear what
multiband compression - for example as a are you waiting for?
alternatives. Don't
de+sser on a vocal,
expect hardware
character from them,
though. Best of all,
they're free!

Parallel compression operates warmer without removing any of details without crushing, or setting it up, mute and unmute mix, while keeping all the impact

fiom the'bottom up', so it the punch. And luckily with across a complete mix. the parallel compressed channel of the original. Here's how to set
You basically run a heavily to hear the results clearly. The it uo:
doesn't "crush" in the way that modern computer-based
recording, it's a piece of cake. comfressed version side-by-side advantage of this technique is
/rA
'top down' compression does.
It's great for filling out a part, Parallel compression can work with a clean version of the same that you can control exactly how tlhrnrnn
enhancing quieter details and especially well on drums, to bring signal - they are running 'in much of the heavily compressed > An example with and without
parallel', hence the name. When 'character' sound you want in the parallel compression.
making everything fuller and up room ambience and subtle

4e
- r_t

t Route the signal you want to prcess to a new -l U$ last attack times, high ratios, and a
very +) Pull the fader right down to zerc and then , Now gradually lift the fader tor the heavily
l*
I buss, so there are two channels sending the Z nice lry
threshold. You ll end up with rJ un-solo il, s you're listening to the original, over-compressd signal and blend as much as
something that gunds very flat, very squashed uncompressd chanrel again. you like of the heavily compressd version back
sme thing to ihe output, and solo the new buss.
Now compress the hell out it! and unnatural - bui has lots of 'compres$d' inio the mix, Make sure you have plug-in delay
cha€cter. Careful, vintage emulations may add comp€nstion switched on to avoid any problems
distortion - or maybe this will sound g@d! with latency.

Fduefuirsc
@
 Chaining
Compressors
It's often better to use several
compressors in a row, each only
working quite gently, than to push
one compreqso. very hard. Th,s

ffit
technrque is known as'chaining'.
An 1i76 followed by an LA-2A is
a real power house colbrnatiorr.
for example.
This technique was standard
in the days when usrng analogue
tape was a much more comnton
practice. lt was fairly normal to
compress gently when going to
tape, to get the best signal-to-
noise performance. With tape, tt's
possible to record quite 'hot',
allowing a little saturatron to
compress the sound further and
then more compression would be
used in the mix-down.

{
' el &f. t iMllLR

'rc,'
& !
g

t
#":

iq
ty:

,3 I
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:,li

I
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;
.:4

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musnltn -
music?
In The Studio Wth lJoachim Garraud

finally came to me and it was a complete revolution, How did your DJing combine with music production parties and eventually I started to get paid. It was
because I was able to combine both mylove for and performance? just passion and itt the same now. I've gone from
music and my love for machines." "Everything just all happened together because there holding the small liee parties to playing Coachella
was only one passion - music. I was getting involved but itt never been about the money, even though I
Was that the Atari? on every level even when I was sixleen. I was DJing am professional now. I'm really lucky to have never
"Yes, and a program called ST Replay" at night, programming on the computers, n-raking had to'work'and that my passion for music has
music, doing a radio show and making remixes for enabled me to do this. I'm still so excited to perform,
It must be nice to have the mathematical mind for it,learning how to master and remix tracks I liked so produce and share music with people - it's never
programming computers alongside the creative, I could play them on the radio exclusively and so I been about money or success."
more musical mind. was learning all the time."
"Well, when I'm in the studio I thint slightly more You're producing pretty much inside the box noq
mathematically, but when I'm performing live on So you've never done anything else but music? but surely there was a time when you had
the tour, there is none ofthat really - it's just purely "No, never. But ofcourse when I hrst began to DJ mountains of gear?
about the musicl' and make music it was all for fiee. I would iust hold "Yeah I learned the job of sound engineer by using
the big SSL desks, ali the

Now, if l'm getting picked up at Spm I can

outboard gear and taking
Polaroid's ofthe desk to recall the
track. But, it was in 1991 I think
be in the studio until 4:30pm, take the when I saw the first Pro Tools
version and thought'OK, now

laptop and continue working in the car we're ready to start using
computers againl
"So I bought it direct fiom
California and I was actually the first person with a
Pro Tools licence in France. After that I built a really
strong relationship with Digidesignas I was the
number one Beta tester in France. Together with
Digidesign we helped change Pro Tools. For instance
we worked on putting Sound Designer II inside Pro
Tools for normalising, reversilg etc and other
shortcuts like dragging and dropping audio from
the Finder straight into Pro Tools."

You left Pro Tools though?

"Yeah,I needed sonething portable to use. I
remember in about 1997 they started to make
hardware for Pro Tools. This really halted the
development of the software, because for major
updates to the software, they would need to maybe
develop new hardware, so there were months and
months between updates."

What about now that Pro Tools is native?

"l think it's too late for me now. A lot of DJs
swapped because Digidesign were so late with things
like real-time time-stretching. Pro Tools was like
driving a huge boat where three miles before you
wanted to turn 1eft, you have to start turning. \Vhen
Ableton Live came it was like a small speedboat. Also
this is the reason I now only use a laptop and not a
Mac Pro.I used to have to transfer everithing
between the desktop in the studio and an exlernal
drive and the laptop and tJrere were >o many times
when I was on the plane and something was
missing. Now i have the Formula One of all laptops
with myMacBook Pro, huge SSD drive, ma-xed
RAM and every'thing. Ifl'm getting picked up for
the airport at 5pm I can be in the studio until
4:30pm and then just take the laptop, open it up and
continue working in the car, on the plane and in the
hotel. Itt so much better now."

Any recommendation for headphones on the road?

"I have these custom headphones that I spent a
fortune on. They are built by Earsonics and they're

@ n*umnnr
::1:i::,:::l:*.1;l:::.:.:: r:':l::::l:,:,:lt * i:.till::3::tf. a./,

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a, at::l :\t?: :':::l.a::,4:':'
:.:t.l :a.a:,,aitt ::t,.:,:' a ::.at:':at

a, . :..:1.:.',.... ::
: :.:: : - : t:., :aa. I t:::a.,.:1....:. ::.:t : ):.4i. :.

...: -;:: :.a.:: .,,,.:.;.a-:. '.:,.,4::t ari.l:.rt:r:t,lr':i:i:

,'i:j.:.]

.i:;l:=
"This version is
l:,l,ri customiseO by myselt
?:- and Serato and I only
;llirr= playback videos. The
|,,',i.:,'.;;i show is a lull
:r:t.= production in tl0 so I
:::,'""= only use M(}Vliles and
i= mytsamhelpme
mala the Yideos lor
each track."

"The C0l talks to

Serato over tlSB-MlBl
and acts as a romote
control f$ the video.
So it I loop on the Clll "'fhis works hy using
rsmots, Serato loops the keytar as a Mll]l
the video. The Pioneer controller with
pulls the movie Serato, and I use the
inlornalion through notes to trigger cue
onto the scresn so pointsinSerato.This
yorl can selecl $e ! means the keytar ean
=
movies h Serato, i trigger any ritfs I
ushE the C012000." choose, butitwill also
= trigger the video so I
= can cut the video and
= audio in real{ime."
=

FutureMusic
@
 In The Studio With lJoachim Garraud

just fantastic. When I first used them, I thought I'd I had to pay the bills so I was working on Classical 1ot ofproducers that really try and complicate and
left the speakers on because the bass was so good." soundtracks for movies and DJing at nightl' intellectualise the process - maybe they're trf ng to
justify the quaiity ofthe production by over-
Are you happy working on the road then? It must have been quite a contrast. complicating the process.
"Well, it's very hard to do the whole process, but for "Yeah, for a big part of my life I was spending 24 "But if the process for a good track is just one
sure you can get creative and come up with ideas. hours a day in the studio. But what I always liked synth, one bass drum and thatt it, who cares?"
For the final mir I actually do go back to using Pro was being able to wear all these different musical
Tools as I have the HD system and it has much more hats and do what I want. Someiimes just te>ting a Do you think it\ because you've been doing it for so
space than Ableton Live." new plug-in makes me happyJ' long that you're more comfodable with the process?
"Yeah, I think so. I'm 42 years old r.row and I've been
Would you ever go back to a mixing desk again? Will we ever see a plug-in that's designed by a Df and making music for over 25 years. I've
"No, I tried before but now i'm so much faster with Joachim Ganaud? crossed all these different ages of music making
the mouse. It depends on the project though "Well I've already made one but I'm not ready to from analogue to digital I even remember listening
because when I was working on the Jean Michelle All the Dls and producers get
share. I'11 tell you why. to a CD for the first time. It was back in 1984 and I
larre album Mcturnorphosis, there was a >lring the same plugs and many end up with the same thought it sounded just horrible, I honestly never
section and probably about 60 channels of auclio, so sound. I remember a producer asking me what the thought itwouldwork.
doing that with a mouse wasn't very practical." bass sound is ir.r Love ls Gone, and he was ready to "These days you have the MP3 and it's even
pay for that exact seune sound." worse. It can be frustrating as a producer because
Why did you stad to work with other people? You're Iir in the studio working at 192kH2,24-bit trying
able to produce, play and mix all your own work... What was the bassline lor Love ls Gond! to create this massive and impressive sound, then
"Yes, I can play instruments, but I was working as a [aughs] "lt was just the standard EXS slnth in people are listening to it in mono at 128kbps MP3
sound engineer and before I had success as an artist, Logic. I'm rea11y honest with this stuff. There are a out of their n.robile phone."

@ r,mrmnx,
a

In The Studio Wth lJoachim Garraud

Career wise, you're in a comfodable position? shows. Itt hard because there are good producers produce, help publish the music, get it on to adverts
"Yes, because even when I'm too old to be on stage, who are not DJs and they can t make money fiom and movies and so on."
Dling, I can produce for others and develop the releasing records. Luckily itt easier to create a live
label and the live show in other wavs." show or become a D| because ofbpm rync and the lf these artists go and DJ, do you take a cut?
technology for DIs, but still for a new producer all I "Yes,It makes sense to me to sign people like Live
And the live show is your main source of income? can say is, good luck!" Nation do, on 360-deals and then I can offer them
"Yes, mosdy. But the industry has changed and thatt every opportunity to promote and help them get
part of the reason why my new album is sold as an So, this year is all about the tour? their music out and get paid."
Invasion boxset, with the branded headphones, "Yes, the album is out now so I'm touring that. P1us,
calendar, laser pen, mask and goodies. I'm trying to I'm writing with other people and working on Going back to studio equipment quickly, what are
put some value back into the physical element of different sryles. I just love music and the number you looking to buy?
music, but people want so much more now because one prioriry for me is always to share music, so "I'd really like to get an interface that has a lot of
the music itself has lost its value. collaboration is always needed." DSP to take the load offthe laptop. But it needs to
"l don t know what the nel't thing will be, ma16e work with all the different DAWs. But what I really
more subscription-based content. Thatt why in my And you also have a label that you run? need is a machine to give me more timel"
Invasion box there is a code that gives you a yeart "Yes I have a label called Zembor that I'm always
worth of Joachim Garraud music." looking for new artists for. I'm also running a festival A time machine?
in Paris ca1led Inox Parc, which is now one ofthe flaughs] "Exactament!" FM

This is easy for established adists, but what are the biggest outdoor festivals in France. So for my
new artists and producers going to do? business I now have a studio, publishing company,
WANTTO KNOW MORE?
"Yes, a new act would have to give everlthing away label and festival, so for me it makes sense to sign
Check out Joachim Garraud on tour and buy his brand new
for {iee, to get known enough to get DJ gigs or live artists. Because I can write songs for these artists, album through his website: ioachimgarraud.com
 uses filters to subtract harmonic content in
order to create different timbres. With no
harmonic content other than the
fundamental frequency, filtering a sine wave

TheScience effectively does nothing but alter its volume.

Sine waves aren't usually offered as an

Behind
oscillator option on analogue synths, but
they can be generated by pushing a resonant

ffns
filter into self-oscillation or often appear in
some form on virtual analogues. A sine wave
layered an octave or two below the main
oscillators can create a sub-oscillator effect
on bass patches or thicken a lead by

Don't know your sawtooth from your square? lt's bolstering its low-end content. Sine waves
can also be useful in LFOs, providing a
time to shape up says Greg Scarth subtly different effect to the more common
triangle wave. ln addition to being
his month we're going right back to Sine fundamental to the less common additive
basics with a look at the The sine wave is the most basic audio synthesis approach, sine waves are used
fundamental building blocks of waveform, but also the least Irkely to be exiensively in digital FM synthesis. The
synthesis - the various different found on an analogue synth. We'll come classic Yamaha DX series of synths use sine
waveforms produced by analogue and digital back to the reasons for that in a minute, but wave'operators' (essentially digital
oscillators. The oscillators are the heart of for now it's worth considering the sine wave oscillators) as the building blocks of sounds,
any synth, generating tones based on in order to understand the way other, more modulating the frequency of one operator
keyboard input and providing the raw sound common on synths, waves work. with the output of another.
of the synth before filtering, envelopes and Named after its sinusoidal shape -
the like transform it into the final output. discounting phase and amplitude, the wave Sawtooth
We'll examrne the differences between is derived from the function sin(trlt) where So, given that sine waves aren't generally
the comrfron sine, triangle, saw and square u.lt is the angular frequency - the sine wave the best choice for synthesis, we need to
waves and investigate what makes them contains no harmonics other than its start with something that contains more
sound different. There are no rules about fundamental frequency. So why are sine harmonic content. Of the three most
which waveforms to use when constructing waves rarely found on analogue synths? The common solutions, we'll start with the
new sounds, but understanding the clue lies in the fact that practically all sawtooth wave (sometimes known as the
differences between waves and the way they analogue synths are based around ramp up). Whereas the sine wave contains
sound is simply a great aid to understanding subtractive synthesis, which takes only the fundamental frequency, the
synthesis as a whole. harmonically rich oscillator waveforms and sawtooth contains all integer harmonics of
the fundamental (for a refresher on

WW While a sine wave is

rarely found on an
analogue synth, sW tri
harmonics, check out our KB in FM22a,
with their amplitude decreasing
exponentially as their frequency increases
and square are
common shapes
(the amplitude of the nth harmonic is 1/n
the amplrtude of the fundarnental).
When represented visually, the sawtooth
wave is noticeably different to the sine wave.
Rather than ascending and descendrng
smoothly, the savvtooth ramps slowly up from
minimum to maximum, ihen jumps
instantaneously back down to minimum
again before repeating. As its name
suggests, the reverse savvtooth wave
(sometimes known as inverse sawtooth or

W W ramp down), ramps slowly down from

maximum to minimum and then jumps back
up to its maximum level. lts harmonic
content is identical to the regular salvtooth.
Check out the audio clips on the DVD to
hear the differences between the various
wave types. All other things being equal, ihe
sawtooth wave is notrceably thicker, richer
and fuller than the sine. Filtering the saw
wave demonstrates the way in which the
traditional low-pass filter can be used to
remove harmonics and alter the timbre of
the signal. Thanks to its full, rich sound the
sawtooth is one of the most common starting

ruuannt
@
a

points for subtractive synthesis, lending

itself well to leads and brass sounds.

It the basic waveforms produced by perfectly level at each point. ln signal (and therefore its timbre) are
Square and pulse analogue oscillators are so easily practice, crcating an analogue circuit subtly changed. These tiny
ln addition to the sawtooth wave, almost all defined and common to all analogue which generates this theoretically inaccuracies and subtle differences in
analogue synths also offer a square wave synths, why don't all synths sound the perfect signal is all but impossible. timbre contribute directly to the
and/or iis close cousin the pulse. Square same? ln the same way that different As such, very small inaccuracies are unique character of every analogue
waves are noticeably different to the smooth circuit designs can create introduced which affect the harmonic synth. Even two apparently identical

sine wave or jagged sawtooth waves - rather dramatically different effects from content - and therefore the sound - of oscillators with components at
broadly similar filter sections, the wave. Signals take a tiny amount opposite ends of the tolerance range
than gradually increasing and decreasing,
analogue oscillator are all very of time to rise or fall, or the signal or in slightly different states of
the square wave jumps instantly from it
slightly different. may overshoot or undershoot as it calibration can demonstrate
minimum to maximum position, remains at ln practice, analogue oscillators approaches the minimum and remarkably different sounds.
maximum for a fixed period, jumps donl generate perfectly accurate marimum levels. This unpredictability and unique
immediately back to minimum and remains waves. Take, for example, the square Even though the ris€ and fall times character may keep electronic
there for the same time period before wave. As we've seen, in theory a may be measured in microseconds engineers awake at night, but it's all
jumping back to maximum. The square wave square wave jumps instantaneously and the over or undershoot in part of the unique magic and appeal
from minimum to maximum and stays millivolts, the harmonic content ot the of analogue synthesis.
contains only odd-numbered integer
harmonics. Square waves are often used for
fat bass sounds and deep, hollow tones
reminiscent of wind instruments.
Closely related to the square wave, pulse
waves also jump instantaneously from
minimum to maximum but the wave isn't
symmetrical in terms of the time spent at
each level. The square wave is in fact a
specific type of pulse wave, where the
widths of the positive and negative portions
of the signal are identical. ln physics terms,
the wrtrth of a pulse wave is properly defined
as its duty cycle. Duty cycle refers to the
'active' portion of a wave's cycle, which in
the case of a pulse wave is the time that the
Giaottt abt"to i. .apable of preducing 68 digital wavetable wavefolms
signal's amplitude is positive. As such, a
square wave is defined as a pulse wave with wavg, th tfiangle Wav,grco|*ains 9ll @ :::a..1
4t,,
r*i wavefwm that shifts over tirne as the peaks
a 50% duty cycle. With the frequency held harmonics of the fundamental frequerrcy. ahd'tr6ughs eJ the two signdls fall in and out
constant, adjusting the duty cycle from 0% However, the amplitude of the harmonics 17 audio examples of phase. PWM is particularly effective on
(a constant negative voltage) to 100% (a of multiple bass and also one of the most commonly
decreases at a much higher rate than in a
waveforms, raw,
constant positive voltage), creates a range of square or sawtooth wave, with the amplitude used techniques when synthesising strings.
filtered, phased and
as the harmonrc of the nth harmonic being 1/n2 the
combined.
synths offer a pulse amplitude of the fundamental. Given that Digital
the harmonic content Digital synthesis techniques effectively offer
drops away so quickly, unlimited options when it comes to

wave contains triangle waves sound

much less full than saw
generating waveforms. ln addition to the
standard waves, digital synths may offer a
or square waves and are variety of more complex waves and models
all odd harmonics of typically used for thinner,
more subtle sounds.
of acoustic instruments. Roland's JP-8000
analogue modelling synth introduced the

the fundamental Complex

supersaw wave, designed to give the
impression of multiple saw oscillators.
waveforms Wavetable synths can be even more
frequ Sawtooth, pulse and complex, allowing oscillators to step from
one wave shape to another, creaiing complex
triangle waves form the
wave wrth an adjustable width rather than fmq alogue synths, but are by no multi-dimensional sounds. Waldorf 's Blofeld,
jusi a fixed 50% duty cycle square wave. options when it comes to for instance, includes a whopping 68
generating sounds. Although they're more wavetable waveforms in addition to all the
Triangle common in modular synths than compact standard VA shapes. Raw waveform options
The third wave commonly offered on most analogue synths, waveshaping circuits can when using software synths, sample-based
analogue synths is the triangle wave, which be used to alter the shape of the basic waves oscillators and physical modelling hardware
appears superficially similar to the sawtooth and tweak their harmonic profile. can be practically limitless. FM

when represented visually. However, rather Things start to get even more complex
than jumping instantaneously from when we begin mixing waves together.
maximum back to mrnimum, the triangle Adding any two waves of identical frequency KNOWLEDGEBASE
NEXTISSUE
wave ramps up in a straight lrne from creates a third wave with a slightly different
Make sure you pick up Future Muslc next month
minimum to maximum, then ramps back shape, and adjusting the frequency of one of for more studio science and industry insight.
down at the same rate. Like the square the waves creates a detuned effect with a FM242 is oa sale 7th July

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 Discodeine llnterview

nyone who, like FM, fell Have either of you trained as sound engineers or ls there a distinct French approach to creating
under the spell of are you just learning as you work? Dance music?
Discodeine's recent languid "WellI'm the one who does all the technical kind "l'm not really sure about that as, for a long time,
Sync h ron i se single (complete of thing in the studio, but I just learned everything France was not really a country for music anlnvay.
with instantly recognisable I know by ear over time. I worked with good We've had this thing where people were basically
guest vocal courtesy of one engineers over the years but even when you're laughing at us as, prior to Daft Punk and others,
Jarvrs Cocker) would do well working with someone that has a great technical we were just late to everything Electronic.
to investigate the duo's background, it always essentially come down to "So, I don t think there's a particular French
eponymously-titled debut long-player, which sees using your ears. way of doing music, maybe more a melodic way of
Discodeine, aka producerVremixers Pilooski and "I once spent three weeks mixing with Jimmy doing things, which is the common ground for all
Pentile, create their own wonderful little DIY Douglass, whot done all the Justin Timberlake and the people that I know making music...
electronic universe. The album expands on their Timbaland and he was using exactly the same gear Particularly in Paris. Otherwise, as a French person,
previous smattering of EP offerings as well as both that I use. The guy has been doing it for like 40 I wouldn't say any of the Electronic music sounds
particularly French."

Because don't have that technical When you were putting the
album together, did you have
specific collaborators in mind
background as such, I don't have any rules... for certain tracks?
"Baxter Dury came about

I can only judge things by my ears because I loved the first two
albums he did for Rough Trade,
which were amazing. To be
their burgeoning sidelines as rn-demand years and sometimes he would come in for a honest, I wasn't ever really into his dad's music
remixers-de-jour. Pilooski cut his production teeth morning and not really hear arything so, even at apart from one or two tracks. . . Mainly the ones he
collaborating on the much-loved Dirty Edits in his level, you can still miss mixes or go wrong with did with Chas Jankel. So, we just contacted Bar.ler
conjunction with Dirty Sound System and has them from time to time. and asked if he wanted to work with us.
remixed talents as widespread as LCD "Because I don't have that technical "With Jarvis [Cocker], we have this label with
Soundytem, Brian Ferry and Mystery Jets. background as such, when I look at it now I'm my fiiends called Dirty [home to the renowned
Partner, Pentile worked with the Iikes of France thinking, maybe itt best that I don't have any Dirty Editsl so Jarvis used to send us emails saying
Copland and Octet. rules. . . I can only judge things by my ears." he loved the edits we were doing. Because he was
As well as the vocal talents of the
aforementioned Mr Cocker, the album sees
Discodeine collaborate with Baxter Dury and
Matias Aguayo (who contributes to classy album
opener, S i n gu I ar). Throughout, D i sc od e i n e, the
album, is an effortlessly wonderful Electronic trip
and FM eagerly tracked down one-half of
Discodeine, the band, Pilooski, to his Parisian
studio for some insight into the debut album's
creation, the technology employed and the
technique, c'est chic.

FM: With such an effortlessly cool album, how

exciting is it to see your baby leave the studio and
start causing ripples on the dancefloor?
Pilooski: "What can I say, it's always a little bit of a
relief as we've worked on it for a long time. Not like
100o/o on it at all times but over a period of time.
We've started the next one, so now it's on with that.
It sounds like a clich€ but I don't like to go back too
much to music we've already made."

Both yourself and Pentile have growing reputations

for your remix work, does that inform your work at
Discodeine or vice-versa?
"It's a different way ofworking, really. Particularly
as I'm into the DIY thing so I started doing edits
with the old tracks. .. You can't call them remixes
as we play stuff fiom them all the time. It's just
playfi.-rl, you know? It is starting to get a litde more
complicated now though as we're starting to work
with classical musicians like strings and a harp
player so it takes more time nowwith all the live
recording. Remixes you can do within three days!"

Ftuemsh
@
lnterview I Discodeine

living in Paris when he did his recent solo album but, for me, usually it's not particularly important Instruments' stuff like Reaktor and Maschine. For
he asked me to do a remix, which he was what you re using. I'm pretty much half digital, half me, that stuff is amazing too. . . Mostly Reaktor."
apparently very happy with. We had this track, analogue. So, I've got a few synths like a Jupiter-8
Synchronise,which we asked him to sing on and he and Prophet-5, some older analogue outboard like Do you build your own synths using Reaktor?
said'yes' straight away." the Roland Space Echo and a Thermionic Culture "I've started to at different points but we've
Vulture compressor... Those kinds of things. actually started to build our own lilters and
ls collaboration something you can envisage "We don't think it's better to have all analogue, sequencers too, which is pretty cool.
Discodeine doing more of in the future? we simply use the things we need at the time... "Since I got a bit of money in for doing
"Probably, yeah. Basically we're very curious about I don't really care so long as it sounds good." commercials, I started buying all these old
music but with a Pop background in terms of analogue synths and I've been using those a lot
writing songs with choruses and verses. Of course What's handling the digital side of things? more as I like the physical approach
we'll still be doing remixes and the like but the next "We work on Logic Pro... I don't really like Pro to making music. I do really rate Reaktor though,
album will be done with Thomas Bloch who has Tools, to be honest. I've got the UAD card for the for me, it's the one that sounds the best in terms
ofactual sound quality. Usually
when you work with VSTs

The problem with making music with there's always something lacking
in fiequencies, it's like the sound
is transparent.

computers a lot of the time is that you can "I think once you've started
to work with analogue. . . And

get dr:awn into too many other things I'm talking about synths for
melodies and everl.thing, then it
just sounds right.You dorlt have
worked with Radiohead and Gorillaz. He tends to effects, which are superb. It runs on Ableton too.. . to spend allyour time working to EQ it."
only work with rare instruments like the Glass They're quite expensive but I think they're the best
Harmonica and the Ondes Martenot and we're software effects I've worked with. You mentioned that Native lnstruments' Maschine
intending to use a lot more classical instruments." "I have the original Space Echo too but we've is part of your setup now too.
been doing music for soundtracks and some "Yeah. . . Itt very multi-layered and I think they ve
What's iquick pr6cis of your current studio setup? commercials so it! good to have everlthing in the made it just the way it should be as you have to
"I know it's not exactlywhat you want to hear computer as you can be asked to change things keep thingsplaldrl and fun.
when you're writing for a technology magazine around a lot. We also work with a lot of Native "The problem with making music with
computers a lot of the time is that you can get
drawn into too many other things rather than
actually making the music. Maschine has the
physicality of an MPC or something similar and
that's what I really like about it."

It must be nice having access to an original

Roland Jupiter-8?
"l got lucky because I got it very cheap a few years
ago. I wouldn't buy it for the prices they usually sell
for now! At the moment I'm realiy into old out-
board and effects. . . I don't buy synths ary.rnore. I
bought the Thermionic that I mentioned, also a
Disodeine's studio is mde up of a UniversaiAudio LA-3A compressor. If I had some
h€lthy mix of hardmE and stlwarc
including the favourite SCI Prcphet-s money to spare, I'd probably go for more of the
ry.t qwx Thermionic stuff...
?.8* "I have their Phoenix buss compressor but I d
s!!v'
probably go for their stereo valve distortion, which
I think is really cooli'

Do you think the old hardware outboard still has

the edge on software effects?
"I have both with the UAD plug-in suite but it's
still different. The thing with the hardware is that
you have all the defaults. . . All the mistakes. A

computer is calculating all the time. With the old

hardware, when you turn it on it I has a certain
sound then, three hours later, it sounds different
because ofthe valves.
"There's something in the va.lves that you can't
really copy. For me, the weakest VSTs they do are
probably the reverbs because it's still really hard to
have a really proper sounding reverb on a VST. ..

Thatt just my opinioni'

@ rur*r*
a

Discodeine llnterview

ls all the editing done in the box then?

"Yeah, it is. I've got a very basic old Mackie Micro
Series desk, which helps things sound good then
we mix everlthing in the computer. I have an RlvlE
card so we.just do takes with the slnths directly in
there and edit it all rvithin Logic. {
'As I said, there's nothing mystical about the
way lve work. . . It's really basic. We do our orvn
percussion now using our voices through
microphones. . . Hi-hats and the like. \Ve record a
lot with cheap mics because you have the live
approach to things and it's good because it's not
always perfect... It's all about the noise between
the sounds."

ls it a complicated affair to take Discodeine out

from the studio and into the live arena?
"No, it's not complicated. We've basically got tn'o
clifferent formulas... When lre play in Paris we can
take our synths like the Juno 60 and our bigger
outboard gear like the Space Echo and other
things. Now rve'\e got to go out on the road in
other countries rve've bought a couple of the Dave
Smith Tetra synths and lve have an Elektron
Machinedrum as rvell as an MPC and some Moog
pedals. We use Reaktor and Maschine in the live set
too. We are trying to keep things minimal though
as rvhen you go on the road I can become rea11y

complicated... AIso the old sl.nths shouldn't really

be moved about too much."

Have you hied the Dave Smith/Roger Linn,

Tempest drum machine?
"The nerv one that they've been lvorking on for
years? Is it actually finished now? I haven't tried it
- I have a Roland TR-808 that I use most of the
time along with the Elektron and the MPC. I do
really like the little Boss SP-303 too, which sounds
rery lo-Ii. \\hat we use when we start doing beats
just depends on the track...
'As I say, son-retimes rr'e just record stuff like
banging on tables and plates with mics and we try
to rr-rake kicks and snares fron-r those samples... All
very DIY Sometimes if there's a particular sound I
rrant I'll urc thc 808 but \\c're trying to get awJV "Occasionallyue'll use Kontakt too, wl-rich is ln this age of laptop recording, is it still important
from the classic drum-rnachine sounds, which really cool. To be honest we don't sample that to you to have a physical studio?
erervbod,v's used over and over. If 1'ou mir the 808 much in the old sense as in from records and "Most of the time, when I travel, I take my laptop
r,vith the samplecl sounds then it takes it things like that. \Ve sample our voices and some and my UAD card with me but I do lind it's never
somewhere new. That's quite ambitious and s1.nth stuff too." quite the same. I like the idea of being in a place
sometimes it rvorks - sometimes it doesn't. where you only make music. C)f course, you can
"For me, though, the 808 is the best drum What's occupying your time at the moment? take your laptop to the beach and make some beats
machine as it can go rvith er.er1thing... Rock, "Right now rve're working on the live set and we've but you never really finish anlthing. . . Ma1.be some
Techno, Hip Hop... And it's never boring. also just done a remi-x for a Iiiend, Ioakim and people do but I personally don't. I need to be on
Especially compared to the Roland TR-909, which sometime soon, within the nert month, we're my own, working, at night. iu rnl own environment
is verl' Techno." going to start work on our new album. Remix- to get things done and to {inish things.
wise, we'd love to do one for DJ Koze and I love "Also, I knol'l'm not going to be limited
When yourself and Pentile are putting all the the new Caribou album, so it would be fun to working in my studio as all my mics and synths are
sampled stuff together, is it all one within the workwith him too. there. I do sometimes do remi-res only with
ESX24 in Logic? "When lir-r not doing Discodeine I produce a Reaktor and Maschine, which is a different r,vav of
"Yes... We go in through the RME card then take it 1ot for other people and I'm hopefully going to be working but, to be honest, I do prefer to be in the
into the EXS24. Sometimes Ableton too but mostly working rvith Ba-xter Dury for his next album too. studio for work." FM

it's Logic. I used to rvork a lot rvith samplers like That's my main thing really, working in the studio
the E-mu SP- l2 and some other of the old E-mu all the time. I do enjoy playing live and things like WANTTO KNOWMORP
ones but now the convertors from the RME sound that but I mostlv prefer enjoying m,vself, rvorking Discodeineis out now on Didy/Pschent. For more on I ve
reall,v good so we just do everl.thing through them. in the studio." shows and new releases vislt mvspace.com/discodeine

Futuretrtsh
@
@rlnru*
Technique I Logic Pro

Orche$ral
Scorl ngwlth
Lbgl6 Studlo I
It's: the dream and desire of more and more of us to
break into f ilm, W and computer game scoring.
Jono Buchanan explores how authentic Logic's
orchestral samples can sound, without a single
third-party inf luence allowed on the virtual stage...
ogic fans use the program for
myriad reasons. Some of us are
as a MlDl sequencer has meant that for
composers, its toolset has always been
il vrewed as a serious choice for plenty of TV
and film composers as well as those
Pop producers, others program immediate and comprehensive and Jono becoming embedded in the ever-expanding
Dance music in chosen genres particularly for those with even basic piano Buchanan world of scoring for computer games.
while some use the program for multimedia skills, musical results flow forth very composer, For those writing with an orchestral
composition. The fact that Logic started life quickly. lt's no surprise then, that Logic rs producer bent, Logic often acts as a front-end for
expensive third-party specialist orchestral
libraries with these often powered by either
their own GUI environments (such as VSL
m,ffi; and the Ganitan series of plug-ins, for
instance) or through Nl's Kontakt sampler
::":'ii-"ff;:,:;h
HBO's fodhcoming or free sample player.
'Game Of Thrcnes' TV However, for those for whom Logic
epic. watch his music
and sound design work
Studio has already proved a bank-breaking
here: httor//bit.lv/ investment, it needn't be the case that you
kAcY4F
feel excluded from writing in this field as
I
Logic's EXS24 comes loaded with
I

orchestral samples in its Factory library.

I

I This month's tips are all about how to get

i
I the most from these sounds and to see how
authentic they can sound.
I

I like to score
It's worth stressing that I'm not going to be
Logic's EXS24 empler offe6 heaps ot orchesl.al articulations explaining the process of writing for

@ nruumt
a

ln order to effectively replicate raised up to a second tier. number of players required is tuba player over here - again, all further away an instrument, the
the sound of an orchestra, Behind the winds is the mighty dependent on the demands of depends on the score. more reverb you'll hear added to
whether you're working with percussion section with timpani, the score. On either side of the The most common 'techno- it and carrying out this in
Logic or third-party libraries, you orchestral bass drum, snare woodwinds you'll find the brass logical cheat' comes with the practice often yields good
need to keep a few crucial drums and suspended cymbal section with French Horns on first violins as we producers results. The orchestral sound
details close at hand. Firstly, perhaps the most common the left of your sonic standpoint, aren't used to the melody being and the concert hall are wedded
know the layout of a standard instruments. Further tuned Any number between four and caried off to the lefi and it's together, so don't get too whaclq
orchestra so that you can mix percussion, including eight is likely while on the often possible to soften this with with reverb. Your piece will also
with an orchestral stage in mind. glockenspiels, marimbas, opposite side on the right you'll a gentle rather than dramatic benefit from the continuity of a
It's best to consider yourself rylophone or even tubular bells find trumpet and trombone pan change. The other killer single reverb treatment, so keep
either as the conductor or as a will be found here too - the sections. You might also find a weapon will be reverb - the it consistent.
member of your orchestra's
audience with the best seat in
the house - dead centre, a few
Colour-coding yo$r
rows back. From either
instruments.makoii'ii
perspective, the first section in
easier to sptlwhiih
front of you are the strings, with ones belonglo srhieh
the first violins on the left, then orchestral $bction.
the second violins (left of
centre), violas (right of centre)
and the cello section on the
right. Double basses sit directly
behind the cellos.
lf there is a piano part in your
piece, this would traditionally be
found on the left between the
I[oving the first violin
first and second violin sections lins any lurth$ lsft
but much further back and the uouldspsdithe mi[:
same is approximately true on e
so this is

the right for a harpist, between recognisBd'ghgaf. .

the violas and cellos. Behind the

strings, often on a raised
platform, the woodwind section
can be found. Flutes and oboes
sit behind the back of the
second violin sections, with
clarinets and bassoons a row
further back behind them, often

there is also a dedicated patch. The basic these - one acting as a single hit with the
Srnritrr'r.r mood of the piece is serious and a touch other providing rolls and I found what I
1. Strings: Here are military - you could imagine this as a needed on C#1 for the single hits and A0
the string parts poignant scene within a thriller, so the for the rolls. lt would have been easy to
- Staccato lower
staccato strings firstly introduce my chord miss the rolls as I work on a f ive-octave
strings and an
progression, while the first violins play a keyboard, which means that by default,
upper first violin
melody line.
this sound is below the
minimum (C1) that I

2. Drums: The
snares, bass drums, urge you to explore
I have available.
Obviously, you can
cymbals and simply press the Octave
You'll find plenty ot Orchestral
preset menu
smples in the EXS24'S
timpani add weight
and the desired
the extremes of the Down button but for
those of you working on
'military feel'.
orchestra through this article -
sublect deserves its own set of tutorials, so
such a

3. Drums and
keyboard ranges to shorter keyboards with
fewer octaves, I do urge
instead, I'll be explaining how I used you to explore the
Logic's sounds to build the short orchestral
Strings: Here are
the two elements
combined.
discover new sounds extremes of the keyboard
piece you can hear on the DVD and how ranges to discover new
careful use of volume, pan, EQ and reverb haunting melody over the top. You can hear sounds, as there are some goodies you
4. Brass: French
can ensure that those source sounds can these two parts together in the first clip on might otherwise miss. To the snares, I
Horns, Trumpets
be maximised to their full potential. and Trombones the DVD. To get the military sound that I added an orchestral bass drum (C1) on its
The piece begins with two string sounds bring raspy brass wanted, I then added orchestral percussion own instrument and then loaded two
- an ensemble sound which is playing a and thicker with f ive new instruments set up. separate sounds for the timpant.
section Staccato patch and an extra Legato harmonic tertures. The first uses the Orchestral Kit and Again, I needed rolls and single hits
part for the first violin section, for which provides snare drums. I wanted two of here, so I wrote the part for the single hits,

FuhfdrirNc
@
, Technique, i

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a

Logic Pro lTechnique

ln orchestral programming, it's well Tool in the Piano Roll display to add use of the Advanced Quantisation lf scoring really is your dream job and
worth taking a 'microscopic' view of or remove values from individual options to bring the strength of results the signs are that investing in a
the note events which make up your notes. What you'll sometimes find is down to allow for some 'humanity'. high-quality library or two will earn its
piece. All of the instruments within that velocity 58 works great for notes Automation will also play a huge own rewards, you're guaranteed more
Logic's orchestral sample libraries are in one octave while, when your part in your programming, when flexibility and sound quality than Logic's
multi-sampled, with plenty of melody sweeps up to the next octave, you're looking to create swells or libraries can provide by doing so.
variation from velocity I to velocity suddenly the same value is ttiggering fades that the programmed sounds There are multiple reasons for this,
128. The reason why it's important to notes which are substantially fuller or themselves can't match. Some including the heavily multi-sampled
explore the options is that flattening more muted in tone. This isn't what a presets contain crescendos, for nature of external libraries and theil
velocities or leaving played notes at 'real' orchestral player or ensemble instance, but if you need to swell over broader range of articulations and neat
too wide an extreme won't leave you section would do and such problems 15 ban, using these won't work as performance tricks. For instance, you
with convincing results. Whether you are easily eradicated with careful every time you play a new note, the can switch articulations mid-note, so
play parts in or draw them, it's well Velocity editing. The next issue is swell will start again. Load a sound that a 'straight'violin line can suddenly
worth looping eight-bar sections at a Quantise. lf you're playing parts in, containing the articulation you want contain portamento swoops, or brass
time and being ready with the Velocity feel free to use Quantise but make and deal with dynamics afterwards. patches can switch from staccato to
legato without having to set up both
articulations on separate instrument
tracks, as examples.
lf string-writing is your thing, you'll
tind LA Scoring Strings (LASS) a
wonderful choice, with full divisi section
writing possible, allowing for a greater
range with arrangements. For full
orchestral writing, Vienna Symphonic
Library and East West Quantum Leap
have almost every base you can imagine
covered. Beyond that, Miroslav
Philharmonik, Garritan Personal
Orchesta and MOTU Symphonic
lnstrument provide useful'middle-
ground' kinds of library - substantially
cheaper than those already mentioned
but more comprehensive than Logic's
own Factory library.
For those going further still with
writing, looking to enhance an already
substantial palette of orchestral samples
with deep orchestral eftects, I'd also
recommend checking out the two
ProjectSam Symphobia libraries as well
as Samplelogic's Morphestra, both of
which allow you to stack orchestral
textures, rhythms and sounds together
copied it down to the rolls track and then Next up, I added an oboe solo part. The
quickly. What! clear is that if you have
edited out the notes I didn't need, tone of an oboe is pure and haunting by the means, there's never been a better
extending those for the rolls to make the 5. Obe and nature, so I thought this would be a perfect time to b€ writing in this genre with
most of this sound. Strings: The oboe foil for the f irst violin melody. technologt, as some of the tools
Finally, I added a fifth instrument to solo compliments For the first half, the two parts are available are simply staggering.
the string parts
cover cymbal crashes with both single hits doubled and are playing identical notes,
nicely.
and crashes added via one instrument. I while through the second half, the oboe
wanted the cymbal roll that's at the end to 5. Piano Harp breaks out by itself to produce a lower
crescendo, so I added some volume Glock: The piano harmony, which helps thicken out the track
automation to ensure this note started provides thickening, and enrich rt. Three additional parts
quietly before building to the crash that the harp provides a complete the track.
comes afterwards. flourish, while the The innocent tone of a Glockensprel,
Glock adds a
doubling the violin melody adds poignancy
child-like quality.
Wind, brass and extras and crucial high frequencies to the mix.
The brass writing starts with a full French 7. First Mix; The The piano part adds weight without chords
Horn section. Through the first half of the whole mix through the first half and a running
piece, this part simply plays a single note, combining the parts arpeggiated figure through the second,
picking out the bass, while through the listed above. while I liked the idea of a harp f lourish
second half, the part expands to become a from the end of the first half into the fuller,
8r Second Mix: The
four-part chord to add richness. bigger second half. FM
second mix with
Two additional sounds join in for the
bespoke EQ and
second half a trombone part that also reverb treatments LOGICTIPS NEXT ISSUE
plays block chords and some spiky applied to each
Jonos back in video form next month, digging
trumpets which play a more staccato sound, around under Logic's hood for yet more tip-based
pattern and help add to the military feel. nug:geIs. FM242 on sale 7th July

Ffirdfrah
@
 system developed that utilrsed rocker
switches and rotary pots rather than patch
cables. By early 1970, the fourth prototype,
Model D, was approved for production.

TheStoryof Model D
Launched in 1970 with a UK retail price of
f560 (the equivalent of nearly 07,000 in

theMinimoog
today's money), the Minimoog Model D was
by no means cheap but it was a true bargain
in comparison to the modular synths that
preceded it. Even more importantly, the
Minimoog was portable. The compact design

ln a new series on electronic classics, Greg Scarth with integrated 44-note keyboard and
collapsible control panel could easily be
explains what makes the Minimoog so special moved from rehearsals to gigs to recording
sessions with a minimum of fuss, unlike
tarting this monlh, Knowledge players as an incredibly versatile and modular synth setups which often weighed
Ease embark on a new series of unique-soundi ng instrument. as much as a piano and required serious
articles examining the roots of Despite their success with modular effort to transport.
some of the best loved, most synths, Moog identified the potential market The Minimoog wasn't the first integrated
highly valued and most impodant electronic for a more compact instrument and set synthesizer on the market - the ARP 2600
instruments of all time. Where better to about developing a portable, fully integrated was launched at the same event - but it was
begin than with the Minimoog Model D, the synthesizer. Engineer Bill Hemsath, the most portable, the easiest to use and,
first icon of mass-market synths and still one responsible for demonstrating the modular crucially, the best sounding. Essentially, the
of the most sought after pieces of vintage systems to potential buyers, struck upon the Model D's synth architecture was based on
gear? Launched in 1970, the Minimoog idea of designing a single unit which what Moog had already developed for their
revol utionised the synthesizer market. recreated the basic patch he used in his modular systems. The oscillator bank
demos - a basic collection of oscillators, a contained three VCOs, each offering triangle
Modular monoliths filter and the necessary VCA and envelope and sawtooth waves, a hybrid'sawtooth-
By the time Moog Music began development generators to link them together. triangular' and three pulse waves of varying
of the Minimoog, founder and head designer Over the course of 1969 and early widths. A slew limiter could be applied to
Bob Moog was already firmly established as 1970, Moog and Hemsath built and iested the keyboard's CV outpui in order to create a
one of the key players in the story of the Minimoog Models A, B and C, prototype glide effect. Although most of the Model D's
electronic musical instruments - Moog's designs used for development of ihe overall design was inspired by Moog's
modular synths of the late 1960s remain circuitry and control system. lnitially-based modules, most of the circuits were
some of the most revolutionary pieces of pro on spare Moog modules plucked from the developed specially for the Mini. The
audio equipment ever made. pads bin and housed in a wooden case with oscillators featured Moog s f irst temperature
Huge, notoriously complex and integrated keyboard, the prototypes soon compensation circuits, helping to keep
hand-built to order, the Moog modular made transitioned to a bespoke metal front-panel tuning at least relatively stable.
very little impact on the consumer market and eventually acqurred the now-famous The 24dBioct kansistor ladder VCF
but was adopted by the era's more hinged control section. Modulation and design was based on Moog's classic 9044
forwardth inking (and aff luent) keyboard pitch-bend wheels were added and a routing voltage-control led lowpass f i lter modu le.
More than any other srngle element of the
Minimoog, the sound of the ladder filter has
become synonymous with the unit. Fat,
warm, rich and capable of being driven into
self-oscillation at high resonance settings,
the VCF defined the Model D's sound.
Cranking the oscillator and noise source mrx
levels up, it's possible to overdrive the filter's
input, creating immensely powerful sounds.
The Minimmg Model A A pair of envelope generators ('contour
prctotype designed by
generators' in Moog-speak) were employed
Bob M@g and Bill
Hemsth to control VCA amplitude and filter
JI modulation. Rather than the now-familiar
ADSR envelope controls, the Minimoog
CI offered just three options: attack, decay and
3 sustain, with the decay setirng also linked to
q the release time. As far as modulation
options went, the Minimoog kept things
simple. Oscillator 3 could operate at audio
rate or as an LFO, and its output could be
used to modulate all three VCOs'
frequencies or filter cutoff via the

mnr'mc
@
modulation wheel. All in all, the Minimoog
was a synthesizer boiled down to its very
essence. Looking at the design of the
Even il you've got your heart set oil 2000. All three are still great Minimoogs arc at their best when you
Minimoog, you'd be forgiven for thinking alternatives to the real thing. tweak the knobs while you play, and
Minimoog fatness, an original Model
that it's a pretty standard setup. The D isn't your only option. Over the Unfortunately, some clones arent liddling with a mouse or even a MlDl
architecture of the Minimoog's synthesis years, dozens of companies have quite so good. On the off chance you controller just isnt the same.
engine and the layout of its front panel prcduced synths that aim to captur€ come across one of the Welsh-made Ultimately, the best alternatives to
appear to be similar to any number of mono the classic sound. Some of them are Moog Music Limited Minimoog the Minimoog might come from Moog
well worth considering as alternatives 2O4Es, our advice would be to avoid themselves. The new Minimoog
synths produced over the last forly years, but
if you're on the lookout for Minimoog it. A far better option would be a Voyager and Little Phatty ofter a
it was the Model D that set the blueprint for
fatness. As analogue synths briefly fell Moog-inspired synth such as the modern version of the Moog sound
what was to come. Untrl the launch of the with 2lst century reliability and MlDl
out of popularity in the 1980s, the Macbeth M3x. Not many of them
ARP Odyssey in 1972 ihere was very little best source of Minimoog fatness were made but if you can find one you control. The Minimoog brand made a
competition for the Minimoog in terms of came via California's Studio won't be disappointed, dramatic return in 2001 with Bob
compact, portable synthesizers. Eleckonics, who initially sold The easiest and cheapest answer for Moog's announcement of the Voyager,
The semi-modular ARP 2600 was larger rack-mounted, MlDl-equipped Model most of us probably lies in the virtual a massively updated take on the
Ds (known as MidiMoogs) betore world, Numerous soft synths take classic concept. Regardless of how
and more complex, while the EMS VCS3
running out of genuine Moog donor inspiration trom the Minimoog design, closely you believe the contemporary
was powerful but required a separate
synths and developing a cloned most notably Arturia's Minimoog V Moog Voyagers and Little Phattys
keyboard. By the late 1970s, compact
version of the same synth, known as and GFor€e's excellent Minimonsta, recreaG the sound of the original
monophonic synths from the likes of ARP, the MiniMidi. The company would The main prcblem with software Minimoog, there can be no denying
Korg, Roland, Yamaha and even smaller also go on to develop the SE-l, a Moogs is that they can't recreate the the fact that they take after the Model
companies such as Octave and Jen showed Moog-inspircd synth rcleased in unique hands-on appeal of hardware. D in spirit.
the clear influence of the Minimoog. Moog
had inadvertently defined the classic look of
the synthesizer.
6Force's
is one of
Commercial success
The Minimoog was an instant hii with Prog
Rock keyboard players and soon crossed
over iito almost every other sub-genre of
Pop, Jazz and experimental Electronic
music. Rick Wakeman of Yes and Keith
Emerson of Emerson, Lake and Palmer
helped to popularise the synthesizer in Rock
bands, praising it for its ability to cut
through. Kraftwerk's mid-1970s albums Ralf
und Florian, Autobahn and Radioactivity
showed a more experimental, electronic
approach, featuring the Minimoog heavily.
With the anival of Synth Pop in the late
1970s, electronic keyboards became even
more of a focal point - Gary Numan's early
are heavrly reliant on
Parliament-

ln total, over 12,000 of the kue legends of Electronic music.

Even at todays Model Ds had been sold,

with the design remaining
Should you still consider buying one in
2011? With second-hand prices now ranging
essentially the same for from around f2,000 upwards for a unit in
second-hand prices, the whole production run.
The earliest models are
good condition, the Model D is firmly in
vintage collector tenitory. Gone are the days

the Minimoogs still_al often considered more

valuable by collectors,
when keyboard players 'upgraded'to the
latest digital synth.
but Bob Moog always Even at today's sky-high second-hand
attractive propo insisted that the
improved build quality oj
prices, the Minimoog is still an attractive
proposition. Sonically it can hold its own
Funkadelic's Bernie Worrell was pioneering a ions made them more with any synth, and if properly maintained, it
bass keyboard sound which would go on to should continue to appreciate. The Model D

become a mainstay of Hip Hop, Electro and that no synth has surpassed ihe Minimoog deserves its legendary status more than any
many strands of House and Techno. when it comes to the combination of fat other synth. FM

The original Model D was produced by sound and simple operation.

various incarnations of Moog until 1975,
then resumed in 1977 when Bob Moog left Conclusion KNOWLEDGE BASE
NDOISSUE
the company. Minimoog production finally Widely considered the greatest monophonic
Make sure you pick up Future Music next month
ended in 1980, the Model D being replaced synth of all time, it's hard to argue that the for more studio science and industry insight.
by the Source as Moog's main mono synth. Minimoog doesn't deserve its status as one FM242 is on *le 7th July

F'irrdfrnt
@
Technique lAbleton Live I

Warplng
Baslcs ln
Nearly every DAW time-stretches now, and most of
on Llve I
the"m get great-sounding results, but nothing deals
with it in the way that Llve does - it's fast, fun, and
you can make it part of your performance if you
want to . Martin Delaney engages warp speed. . .
arping is time-stretching - anymore (unless you want it to). Most DAWs might say. lt just goes wrong sometimes, too
this is a sampling technique do time-stretching, but Live's uniqueness - if a song's acting really strangely, try
where a piece of audio, like lies in the speed with which it can be done. Martin deleting the clip and .asd reference file, and
a one-bar drum loop, is It's been around for 10 years now, and still
Delaney loading it again. As well as using the Context
stretched artificially to fit different tempos nobody's come up with anything better!
performer, Menu to 'Set 1.1.1 Here', telling Live where
than the one it was recorded at. This used to Warning: although Live's warping is
producer the start of a song or sample is, you'll see
result in a change of pitch - as the audio great, it isn't entirely automatic - you still Martin, aka there are a few other warping options, like
was played faster or slower, it would pitch up have to work to get the best results mindlobster, 'Warp From Here (Straight)', and 'Warp From
has
or down, like vinyl - but that doesn't happen sometimes, despite what the marketing prcduced Here (Start at X bpm)'. There are no hard
Live training material and fast rules about where and when to use
and was one of the UK's
first certilied Ableton these options, but you'll be amazed by how
Live trainers. many warping issues can be solved by
choosing the right one of thesel
#,a
# Warping isn't just a studio thing ihough.
You can warp safely while Live is running,
The DVD has an
Ableton Live sel and of course while the clip you're working
containing the on is running. You could be doing this to
material you'll need make a last-minute adjustment to a loop or
for this month's
song, to help it fit something else in your
tutorial. There's also
set, and monitor on headphones, or you
a Quickfime movie
showing the
could be doing some crazy creative
techniques in stretching through the sound system, so it
action! becomes part of the performance. FM

LIVE ESSENTIALS NEXT lsSUE

Make sure lou pick up Future Music next month
for more vital Ableton Livetef'hniques, FM242
Righvconhol-click here to see the Context Menu's warpang options - there's some powerful control there on sah 7tfi July

ruuemsc
@
a

,l Tracks three and four in the example Live set on the DVD contain example songs -l Obserue the waveform for each song - song one doesn't have warp marke6 (aparl
I one and two (l originally put these together in GarageBand for iPad, incidentally). I m^at 1.1.1), because the timing is totally straight thtoughout. Song two does
Let's say we rtant to sync these two songs, so we can crossfade between, sync with other have some warp markers, though, because there's a small tempo change as the song
loops, or make other kinds of transition. prugresses. The markers are Live's attempt to lock the song to a consistent tempo.

{'.
litr * - h..fihrfri{}"t*'|*.

*nr**.. ffip-'Flnltfl}*i

Change the Warp Modes for both songs to Crmplex, ln song one's Sample box, the ln song two, Live has missed the first beat. Zoom all the way into the start of song
2 ,rl
rJ original tempo is displayed in the Seg BPM box. Change the project tempo so it two, and double-click right at the beginning of the waveform, then choose 'Set
matches this. lrunch the beat in track one, and launch song one, They should play 1.1.1 Here' from the Context Menu. ln the case of this son8, that should fix it. lt isn't
perfectly in time throughout the length of the song. always that straightlonratd, thoughl

f Live has effectively stripped the tempo change from song two - that's the price you F Use the loop brace to create a two-bar loop near the end of song one. The song file
d pay for syncing it to other material, As well as tempo changes, watch out for O cuts early, so use bars 141-143. Now, when the song hits the loop brace, it'll loop
ambient intros that don't have clear beats, and any odd-lenglh breaks during the song. indefinitely. Do the same thing at the start of song two, then you can crossfade them
Anway, now songs one and two will play in sync together. over the looping parts.

FrfueMrsic
@
a

Technique lAbleton Live 8

rl Open the second example Ableton Live set on the DVD - there are four tracks of il Make sure the Sample Editor waveform is visible for one of the tracks, then
I instrument parts in the Arrangement View timeline - they're iust some Apple Loops Z Snift-.li.f
on each track so they're all highlighted, You should still be able to see
I exported from a GarageBand project. You can warp all of these tracks at the same time the waveform for the first clip you selected (note: if your clips have different warp
- they do need to be the same length, though. markers, none of this will work, so remove them first).

mqor.Ftr, lt{rrllllrfimlf, ilftll''r utl.lxrlrn E|r!l*-- .

tildlit*l'ii -''-{llflilllflllitrlfilllifillltt til{nilitlti{i#itlllF*

ffi=-''ffi
'
;hT+ *l,ttt *n*fit#)b*

!s,.r.r:r.'f ..j'r:1...'r.,::i.-rr*

Nou when you click in that Sample Editor waveform, and double-click to create a
,11 ...but if
you're
Q working with multi-tracks from a live recording, for example, and
d warpmarker,andstartdraggingitaround-you'll seeall of thetracksmoveatthe T they all need to be straightened out to the same degree, this is a fast way to fix
same time! This might not seem like a big deal, and frankly, it's not going to achieve them all at once. Bonus tip: use the Consolidate command to create clips of equal
much with the example clips... length, if they're not already - see step one.

i.+ e"F F- h k- F F{lh

F-lr- F. F- l"' F- F' F* F-+r
lf you load a movie with audio into the Anangement View, you can use warping to The Temno Master clip's also interesting. Select a warped clip in the Arrangement
E Q
tJ do very weird things to the movie's playback speed. Ot course you can also process lJ View, and click the Slave button in the Sample box, so it says Master. Now,
the movie audio using Live's audio effects, just like with any other audio clip. Try it with everything else in the set will play at that clip's original bpm, instead of the project bpm.
the movie clip in the Live example set. Watch it happening in the Master Tracks' Song Tempo automation.

@ runremr*c
r

Ableton Live I

::::r::rr:rir::r':::

F+**-
* fr'**- I

ftb* _--fFh--
It*-- *- k-** * fir----

I The examole Live set on this month's DVD includes .Fl Right-clicldcontrol-click on the clip's waveform, to 4l Hit OK, and watch the peaks in the waveform jump to
I .uoio.tip 'beat', with some inconsistent 4 view the context menu, and select Quantise Settings. rJ new positions on the grid - that's much faster than
"n "alled Choose 1/8 for Quantise To, leave Amount at 100% (click dragging the markers around. Now you can match this
timing. Let's straighten it out so it'll play better alongside
other parts. Doubletlick the clip, to view the Sample box, and drag to highlight part of the waveform il you only want b€at up with other loops, or use the Groove Pool to apply a
and change the Warp Mode to Beats, to quantise a section). totally new feel.

l:l il r{-N+
'"Fl,t+r.,6'**:
Er {,f- rsr,+ar,*- -"1+Fflt+F.riili**--
'l l:l G {lt

, Go back to the examole Live set, There's a two-bar al Grab the warp marker at 3.1.1, and drag it out to +) Drag the new warp marker to around 3.3.4 - the word
I looping audio ctip caited 'speecn'. Set the Warp Mode I CJ.t. Drag the loop brace out to the same point. rJ 'time' expands to fit the space. Change the Warp
to Tones. Launch the beat you fixed earlier. Now apply Now, zoom close into the clip, and double-click in the top Mode to Beats - or try 'em all and pick one you like'
audio quantisation to the clip, and listen to how it syncs half of the waveform at 2.4 to insert a warp markeL Combine this kind of stretching with clip envelopes, and
more with the beat. you've got an amazing sound design tool!

Can you save warp markers? using track freezey'flatten. The warp warped clip is truly reversed. Hit Rev to how Live handles stretching. Of course,
Yes. You can save a clip with warp markers will disappear, but the sample undo, and the warp markers retutn to you'll find that the coolest sounds don't
markers by dragging it into Live's Library, will stick to the new timing. Remember their original locations. always come from using the 'correct'
via the Browser. When you drag the clip that freeze/flatten affects all clips in a Warp Mode!
from the Browser into another Live set, track, and also embeds any audio effects, Does warping impact on audio quality?

the warp markers will still be there. so you might want to copy the track first. Yes. As soon as you change a warped clip Can I separate a marker from the grid?
from its original tempo, Live starts Sure. Sometimes you want to nudge a
Can you embed warp markers into the What happens when you reverse a clip? stretching it. Once you deviate enough warp marker a tiny bit, to align a transient
audio sample? I love using the Rev button in Live's Clip from the 'native' tempo, you'll hear the exactly where you want it to go. Hold
lf you want to be really sure that youl box, to get a backwards effect, especially sound of the clip degrade - the further down Shift, then click and drag the warP
warp markers aren't going to move or during live shows. lf you do this with a you go, the 'worse' it gets. This is where marker, and it'll free itself from the
change or get deleted by mistake, you clip where you've added warp markers, it's important to choose the right Warp tyranny of bars and beats, and go
can embed them into the audio clip by Live flips the warp markers, so your Mode - they make a huge difference to precisely where you want it to go.

Fdue[{$rc
@
 Reviews I Waves Vintage Aunl Erciter

il
System Requiremerts
VU displays on the stereo version and
one when working in mono.
PC: lntel Core 2 Duo 2GHzl Operation is as simple as it is on
AMD Athlon 64 or
the original hardware - here you select
equivalent, 1 GB RAM on XB
2 GB RAM on Vista/lVin 7, your Mode before setting input and
Win XP 32-bit SP2 & SP3, output levels and turning the AX dial to
Vista Business 32-bit SP1,
Vista Ultimate 32-bit SP1, add excitation. At lower settings, only
Win 7 32-bit gentle colouration is detectable which
ilac: Core Duo 2.30H2, 2GB will make this a popular mastering
RAM,0SX10.5.8-10.6.6
processor for mixes requiring a little
iLok copy protected
more sheen. At higher levels though,
Vintage Exciter really works its magic,
providing new layers of harmonic
content on upper frequencies. lt can
help vocals cut through, add sparkle to
pads, give hi-hats extra sizzle - for any
sound flagging in the mix, Vintage
Exciter is ready to go to work.
Two neat'extras'are supplied in
the form of'Noise' and 'Mains'

WavesAphex controls. The former lets you dial in

modelled analogue noise and helps
provide extra grit and, if your aim is to
emulate the original hardware,

VintageAural
authenticity. The Mains options model
the hum created by the hardware, with
Off, 50Hz and 60Hz options.
Usefully, both options carry on
sounding once a region has stopped,

Ei<citer lSZ50
which provides continuity of the kind
you'd experience using the original
hardware and a mixing desk.

Excitation complete
Aphex's Aural Exciter comes to Waves' product line Waves have created a very classy
sounding plug-in that accurately
with their latest plug-in emulation. Will it be enough recreates the sound of Aphex's classic

to excite Jono Buchanai? hardware unit. More importantly, for

those of us who are unlikely to ever buy

8m
EM
ome pieces of audio
processing hardware go
beyond their workaday roles
original Aural Exciter as an insert
though their mixing desks while others
favoured a send-and-return system, the
the original Aphex Aural Exciter, it
offers all of its versatility with all of the
modern the advantages of immediate
DAW integration.
A software recreation to achieve 'hall of fame' guys at Waves have neatly designed It's particularly suited to vocals but
ol Aphex's classic Aural status and Aphex's Aural Exciter is one this plug-in so that the 'sound'of also suits acoustic guitar parts, pads
Exciter
such device. lts popularity was driven either approach can be accessed
@
Who: Sonic Distribution
by its unique approach to signal
enhancement, offering excitation of
directly from an insert slot on your mix.
Selecting the 'Mix 1' option puts you
and even entire mixes, providing a
depth and clarity in the upper
frequency range, which can provide
Tel: +44 (0)845 500 2 500
Web: waves.com
input signals to offer lift and presence into this pseudo send/return system, anything from gentle colouration to
boost that proved effective on vocal ' whereby you dial in the amount of 'wet' super-bright fluffy airiness. FM
parts and output mixes in particular. level using the AX Mix dial to the right.
I Three dedicated modes
2 A faithlul recreation of the Waves'Vintage Exciter is now here Meanwhile, 'Mix 2' mode emulates
original hardware to offer the same sound as Aphex's rare the original unit's insert mode whereby
3 Nicely designed with
and classic hardware in software form. the entire sound being processed is SIABITITY
minimum fuss lsil
M
llative
Working in 32-bit mode in either mono
or stereo and requiring iLok
authorisation, what's immediately clear
treated to Excitation. ln case you want
to handle any send/return routings of
your own by setting up an auxiliary
VAII'E
']SilI:IITIEf ]
$250 EAt 0t usE
is that this is a plug-in with a few tricks buss within your DAW and feed signals .!fITIIIIIIII
TDM
up its sleeve. to Vintage Exciter there! a further VERSATI[[Y
$soo
mode entitled 'AX', specifically
Might modes designed for this task. RESULTS

The first of these is to be found over on

the left-hand side of the interface, Aural examination A high-quality processor and
where three active modes are offered. ln use, there's a dedicated GUI for faithful recreation of a piece of
As some engineers liked to use the both mono and stereo modes with twin audio history.

@ u,rul*
t-

working well for you, you shouldn't

feel compelled to change it -
ultimately, what matters most is that
you feeling happy that you're getting

Ou r panel of experts answer your the results that you want.

iPhone recording
music-maki ng q uestions, from Adrian Knowles asks:
Up until recently I've

hardware issues to software ideas, been using my iPod

Classic with a Griffin iTalk
stereo mic to capture my
with tips and tricks along the way band rehearsing. While it worked
great, nor that I have an iPhone and
I have it on my person a lot more, I'm
thinking of using that instead to
REX change right-hand corner of the screen and capture rchearsals and other location
Jeremy Coulthard asks: then choose the ReCycle Convert > recordings and build a library.
Mark Gyver
I'm a Logic user and I've Extract MlDl Region and Make New Would you say the iPhone is up to
been using RE( files on
computer
lnstrument option from the the task and is it as easy to tansfer
musrc expert
audio track for as long lnstrument menu to open up your memos to the computer as it is with
as I can remember. chosen REX file (you just have to the iPod?
With 15 years of
Howevel, someone recently told me browse to it). ln the pop-up window music production Dan Goldman replies:
that I'm better off importing these that appears, set the Velocity Factor experience, Mad< There's certainly
into D(S24 and using them fiom to 0 and then watch as the slices of knows everything something to be said for
thete, but they couldn't really give me the file are automatically mapped (and morc) about the cunent convenience and taking
a satisfactory answer as to why, across the EXS24's MlDl keyboard. and classic softrvarc market.
round a bulky iPod Classic
Could you explain the process of You can see which notes they're and an iPhone does seem a little
doing thislnd what the potential assigned to by looking for the little
Doug Kraul
technologT author
pointless - more stuff to carry and
benefits arc? I dont like to tuel like squares above the notes on the more stuff to ultimately leave behind
I'm missing out! keyboard. You'll now also see each rn a rehearsal room! The iPhone's
Doug Knul is an
Mark Gyver replies: slice listed in the Edit window with a Voice Memo feature is super-handy
elec'bonics and
As you probably know, range of options next to it. You can and works even more slickly in
cornputer industy
loops that come as REX adjust the pitch, volume and pan innorator, who has operation than on an iPod.
files are split up into settings (among other things) of each designed analogue modular I use mine all the time for
slices. When you import slice individually, enabling you to get synthesizers and MlDl devices. capturing song ideas on the fly and
one onto one of Logic's audio tracks some really interesting results. What's also for notes, reminders, wild track
you can either treat the loop as a more, because each slice is assigned Dan Goldman and outdoor sounds and also
single object or double-click on it to to a MlDl note, you can program artisVproducer rehearsals. The captured audio
expose all of these slices. From here, beats using the different slices in the quality is very respectable too, though
Aka JD73, tlan is a
each slice can be moved around on piano roll editor. the iPhone uses Apple's 'lossless'
session keyboardist,
its own, giving you some degree of To cut a long story short, then, the M4A compressed format as opposed
prcducer and
flexibility. The advantage of using the big advantage of using the EXS24 to rcmixer, specialising to the iPod/Griffin iTalk combo, which
sampler is that you add MlDl control host your REX files is that by doing so in vintage gear, mixing and uses mono or stereo WAV files, so
into the equation, giving you even you're giving yourself even more production techniques. there is a difference in audio quality,
more scope for messing with your flexibility than you have if you simply though in practice it's actually quite
REX loops. Once you've opened up an put them onto audio tracks. That subtle. The mic on the iPhone
EXS24, hit the Edit button at the top said, if your cunent method is To send in your produces surprisi ngly good results
too, just make sure you keep your
queries you can
levels out of the red to avoid clipping
email us at and distortion - in other words keep
futuremusic@ your iPhone as far away from the
drums as you can.
futurenetco.uk
The iPhone also allows you to
and wellpass name the voice memo files so it's
them on to the easy to keep track things, plus if the

relevant expert. files aren't too long they can be easily

emailed or sent via SMS to other
Orwrite to band members direct from the
Rrturc Music iPhone. However, one slightly clunky
Q&4,30 thing about the iPhone is that unlike
the iPod, it doesn't show up as a hard
Monmouth drive on your computer's desktop and
$treet, Bath dragging and dropping of audio files
BA1 2BW thus doesn't seem possible at first

@ r,tr*tr-t
ryj
0&A I Experts answeryour questions

glance. Apple always prefers you to

sync your phone wrth the computer
and dump the voice memos that way,
which does work but the syncing
process can be a bit of a head
strainer and it's too easy to change or
wipe content on either the iPhone or
computer while syncing.
lnstead of using iTunes at all, I

prefer to use a great piece of freeware

software called iPhone Explorer which
allows you to look into your iPhone as
if it's a mounted hard drive and drag
and drop voice memos or any other
content to or from the phone as you
wish. Follow this link for more details. a free one) that's designed specifically a soft synth that's dedicated to all External hard drive for
macroplant.comfi Phoneexolorer to emulate the Supersaw sound and things supersaw the JP6K from sample libraries?
has a preset for doing it? Adam Szabo. Jack Bettenson asks:
Supersaw in software Mark Gyver replies Adam believes that his effort I use a MacBook Pro to
Glenn Baker asks: The sound of the differs from the competition by run Cubase, and I use a
I'd like to know a bit Supersaw waveform is still featuring a very similar design of number of different
more about the so-called very much in demand (see waveform to the original (including a software instruments that
Supersaw sound that's this month's Knowledge non-linear detune curve) and the have huge sample libraries.
used a lot by Trance Base on Waveforms for more on JP6K features a pair of Supersaw-like I am concerned about how many
producers. I know what it sounds like Roland's Supersaw), but as you say, oscillators (upper and lower). voices I can reliably play at once,
and that it originally came from the it isn't necessarily that easy to The authenticity of emulations especially on the more heavily
Roland JP-8000, but although I've emulate (the original concept on the such as this one is forever going to be multi-sampled instruments.
tried, I can't seem to emulate it in JP-8000 was to recreate the sound of up for debate, but you can try a Does it make more sense for me
software. itm anare that this might be multiple sawtooth oscillators with a demo, and the full version only costs to put the libraries on an external
because I'm not a very good synth single oscillator). 25 euros, so although it's not free, it's hard drive? How do I let the software
programmer, so I was wondering if However, to get straight to the got to be worth a look. Get it at instrument know the library has
there's any synth out there (preferably answer to your question: yes, there is adamszabo.com/io6k. moved to a new directory?

only the click track * the

Getting Everything To Click second contains the

prerecorded material without
the click track. You need a
Donnie Rowan asls: soundcard with at least two
stereo outputs to create these
My band mates do we go about sending just commonly used by drummers Normally the rest of the band two mixes. lf the click track
and I use the click track to the as a timing reference while does not hear the click track. output is sent directly to the
Propellerhead's drummer in Record? recording, or when playing This setup requires two drummer's headphones then
Record plus Doug Kraul replies: live with prerecorded backing monitor feeds, one for the you may also need some type
Reason. We'd like to record A click track tracks or sequences. This drummer, and a second for of headphone amplifier or line
us, including our drummer, provides a tempo helps keeps the drummer in the rest of the band amplifier. The following walk
playing along with some reference during time with the prerecorded (including sending it to the through provides the
sequenced parts, Would a recording, similar material without sacrif icing 'house mix' if playing live). necessary details to get a
click back help, and if so how to a metronome. They are the feel of live drumming" The first mix output contains click kack set up in Record.

{ Open your Record prciect and add an 4l Shory Recordt Rack View then flip it +J Show Record's sequencer view and Exit Edit Mode and duplicate the one
I I I
lD8 inrtrr"nt. Any of Reason's drum reveal the patch panel. rJ create a one-bar clip on the lD8's 'T bar pattem over the song's duration.
"rorndto
Locate the lD8 you just added and open
or sampler instruments, if available, could track. Enter edit mode and add notes on When you play (or record) you will hear the
be used, but lD8 is handy for those who its mixer channel. Connect the channel! beats one through four. Choose a distinct song's mir, without the click track,
use Record without Reason. Select the Direct Out to the Audio l/o panel outputs percussive drum kit sound, and use a through the main outputs. The click track
lD8's 'Drums' preset group and any one of that conneck io the drummer's different sound on the downbeat (beat sound plays only through the second
iis four kits. headphone feed. one) so the drummer has a bar reference. stereo output,

@ nnranc,
t-

O&A I Experts answeryour questions

library with simple folder copying but

others do not.
You also need to learn where the
library files currently reside, whrch
f iles you should move, and which
ones need to remain where they are.
Thjs varjes by software instrument,
and the details often differ between
Windows and 0S X.
Copy the necessary files using
whatever file copying procedure you
prefer. When you're f inished, delete
the original to prevent the instrument
from continuing to use the old library.
A recent backup would be prudent
before this last step.
Finally, update the software
instrument's settings to the new
library location, Some instruments
will prompt you when it detects the
library is missing others require you
change a preference setting.
Check your documentation for any
specifics, and if necessary, contact
the instrument provider for any
additional assistance,

Softrruare Speak& Spell Which is better * looping

or copy and paste?
Paul Sherrard asks: Joanna Moran asks:
Supposelhaveasimple
I know that nailed and also works as a I've heard of people which is billed as a one-bar audio recording
there are some plug-in. Any ideas? getting decent results using "real-time pitch-excited that is identical for 32
Speak & Spell Mark Gyver replies: Audio Ease's Speaker- linear prediction codec measures. Would looping
sample libraries Thanks to a phone, an lmpulse effect". This makes it just one bar of the pattern help to
on the market, but what combination of Response based product, sound terrlfying but what reduce the sequencer's CPU load?
I'm looking for is the circuit bending but given that this is costly actually translates is a very Does it make it more taxing to use
flexibility to make my own and the and designed to do a lot easy to use plug-in that copy and paste?
recorded voice sound like widespread fetishisation of more than emulate a does a fine job of producing Doug Kraul replies:
it's been processed by a old electronic toys, Texas relatively simple piece of the Speak & Spell vocal The answer to this
Speak & Spell. lnstruments' Speak & Spell technology from the early sound. ln fact, it's great for question depends on the
I know that there are has remained surprisi ngly '80s, buying this for your producing a wide range of sequencer and whether
some online text-to-speech in vogue (in fact, it's purpose might seem a little robotic tones, and is the audio clip completely
applications and others that arguably more fashionable bit excessive, recommended to anyone resides in RAM during playback, or if
are built into operating now than it ever has been). lnstead, l'd point you in who wants to give their it is read from the hard drive.
systems, but I'm looking for But how can you process the direction of Sonic music a retro or lo-fi touch, RAM-based playback is more
something that has the your own voice to sound Charge's Bitspeek What's more, it can be eff icient. General ly-speaking, the
Speak & Spell sound totally like it within your DAW? yours for just 35 euro. shorter the audio clip, the more likely
it will be kept in RAlVl. This is why
looping sometimes has the advantage
Doug Kraul replies: Drive data transfer bandwidth, too. Keep in mind that most notebook Yet that does not mean copy and
Sharing a single drive for and rotational latency. impacts computers have a single FireWire or paste is less efficient, Many
audio tracks and sample streaming so look for a USB subsystem, regardless of the sequencers duplicate a reference to
streaming sample I i braries 7200R Pl\1 desktop-style external number of physical ports. the audio data instead of making a
means that the more drive that uses a 3.5" hard drive. This means data transfer new copy. When this happens its just
audio tracks you use the less sample Avoid using portable 2.5" drives, or bandwidth is shared even when as likely the copy and paste method
i nstrument polyphony available. 5400RPlVl 3.5" drives. Also be devices are on different ports. Also an will keep the entire track in RAM.
lf your sample instrument's library careful with so-called green drives as external hub does not help bandwidth Of course, none of this matters
can be relocated then you should they may vary rotation speeds to help sharing. Before you move the library if the original 32-bar audio file you're
experience an improvement in save power. lf you can, use a FireWire to the new drive check through your using also resides completely in RAM
polyphony, However polyphony may 800 interface next best is FW400, instrument's documentation, or ask anyway. lf you are using Ableton Live
drop if the external drive has to share with USB 2.0 a good third option. the instrument provider. rf this is though, you can force a clip to reside
its USB or FireWire connection with a Sharing the FireWire or USB chain supported without requiring a in RAM by clicking on the 'RAM'
second hard drive, or other devices with another hard drive or your complete reinstal lation. Some button to the left of the waveform,
like a soundcard. soundcard may limit your polyphony instruments support relocati ng the when in clip view,

@ nr"an*
a

Experts answeryour questions I Q&A

Alex Chorley dsks: I'm a long-time Logic user and keyboard

player and I've been considering starting to use Mainstage
live for my keyboard sounds with my MacBook Could you
show me how ts set up Main$tage so that I can make a
Rhodes with a layered string patch with synth bass in the bottom
octaves? I also want to fade the strings in and out via the
modulation wheel on my Mllll controllen
Dan Goldman replies: MainStage is really useful for quickly
accessing Logic's sounds, not just on stage but also in the studio
for practising and writing. Here's a six-step walkthrough that
should get you up and running...

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.l Load Mainstage or Mainstage 2. Select'New Concert' .i Now save the Concert. A Concert saves all patches +l For the bass sound let's use the ESM plug-in, so
I from the file menu. Next, select th€ template under Z and settings so that everything loads up exactly how rJ again click and hold over the EXS24 insert tab on
the 'Keyboards'tab called 'Assortment'which loads up 30 you left it. Let's set up a RhodeJstring patch with a synth Channel Strip 2 and select ESM trom the Menu. Tweak
keyboard patches to choos€ trom. That's way more than bass sound in the low octaves. Select the Grand Piano and the sound to your liking. Notice that this sound has a
you'll need, so delete all the ones you won't use by simply Bass Split patch. Go to the channel strips on the right, floating split point which allows the split point to move on
clicking and deleting trom the patch list on the left, Here click and hold the ExS24 insert tab and pick the EVP88 the fly, enabling you to play bass into the Rhodes range
I've kept a Grand Piano, a Grand Piano and Strings layered instead to replace the Piano sound. Set up the EVP88 to and Rhodes into the bass range, dep€nding on which
patch and a Grand Piano and Bass Split patch to use as your taste and tweak the reverb and delays sends, or add instrument you lead with. This setting can be tweaked
starting points tor the other sounds you need. other effects as you need. Here I've added a phaser. under the 'Channel Strip lnspector' tab on the bottom left,

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We now need to add a string patch. This is simply Rename the patch and dng it frcm the Piano folder C I've also mapped the third control dial to string
, f
'T done by clicking the + sign next to the 'Channel rJ to the 'Electric Piano and Combination'folder so ihe [J volume by simply clicking the exclamation mark (to
Strips' title at the top right. When the dialogue box comes patch is easy to find in tuture, Also change the icon to put the dial into learn mode) and then moving the string
up, select'Software lnstrument' and then I've chosen ESE something that's more fitting. Tweak the note range of the volume slider on the channel strip, Finally, to enable the
to add a string ensemble type sound. I've named the strings to taste in the channel inspector by simply clicking mod wheel to control string volume, click the on screen
channel strip 'Strings' using the channel strip inspector. 'Learn' and hitting the desired split point key on your mod wheel next to the keyboard, hit the 'map parameter'
Again, tweak the sound to taste and use the volume slider keyboard. Here I've set it to cover the same area of the button in the channel strip inspector, move the string
to level the sound in relation to the other parts. keyboard as the Rhodes. volume slider on the string channel strip and the mod
wheel will now control the volume of your strings. FM

mr*rf* @