Professional Documents
Culture Documents
!
W
NE
!
W
NE
58 VST/AU PLUGINS
900 SAMPLES
INCLUDES
REVIEWED!
10 SYNTHS
SLATE
fG-BOMBER
TOdIGITAL
DOWNLOAD
phonem vocal synth
dRUM UNMIXING SOfTwARE
+ 20 more Hot ProDucts!
AL
N
O
I
S
S
E
f
PRO
s
e
u
q
i
n
H
c
e
t
S
t
E
r
e
X
I
P
M
x
15 e MAZING STORTiOn
A
H Di
T
R
i
ESS
W
N
O
D
g
f
U
n
i
MiX
S LO
U
B
R
RiCkS
E
T
T
n
S
g
MA
DESi
D
YSIS
L
n
A
U
N
O
S
PTH A MORE
E
D
IN
+
35
VIdEOS
PRODUCER MASTERCLASS
HOW TO USE
BENTLEY JONES
NEXUS2
reFXs legendary
instrument explained
LATIN RHYTHMS
DoWnLoaD
See page 5 to find out how
to download this issues
exclusive content
HOWTOUSE
download
TuTorial
FileS
VIDEO
MINUTES
2 WITH
www.computermusic.co.uk
WWW
computermusic@futurenet.com
www.facebook.com/computer.music.mag
www.twitter.com/computermusicuk
www.youtube.com/computermusicmag
Subscribe to
Computer Music!
See p32
Where to get
PRINt
in stores and online
www.myfavouritemagazines.com
ZINIO
for PC, Mac, Android, iPad & more
welcome
Distortion is distortion, isnt it? Pick a plugin any plugin
then nudge the gain till you get warm saturation,
crunchy drive or all-out cranium-crushing distorted
mayhem. Job done! Or so I used to think
Yet once I began to take music production seriously,
I realised that distortion is a tool with serious nuance and
depth as much as any EQ,
compressor or reverb, in fact,
and with the potential to sound
way worse than any of those if
you get it wrong.
So, whats the trick to using
saturation to create mixes that
are warm and classy, and not
just cheap and, well, distorted? How do you get those
grinding, chainsaw distortion tones to sound solid,
controlled and impactful, rather than messy, harsh and
indistinct? How do digital effects like bitcrushing fit into all
this? And whats it even mean when we say that an effect
adds odd or even harmonics? Questions, questions
I wont leave you hanging any longer, as weve
compiled the answers to these and many more in our
colossal Distortion Secrets guide, beginning on p34.
Youll learn how distortion really works, how
to choose the right plugins, and a whole
host of professional techniques thatll
drastically turn the heat up on your
mixes in the best possible way.
We give you the tools, too, with a
brand-new all-in-one overdrive, exciter
and bitcrusher from HoRNet being
yours for free, exclusively with this
magazine. Get that one installed,
crank it up, and
Distortion
is a tool with
real nuance
and depth
www.zinio.com
GOOGlE PlAY
www.computermusic.co.uk/cmdigital
play.google.com
contents
Producer
masterclass
COVER
FEATURE
61 bentley jones
Tutorials
55 mIxIng for
smAll sPeAkers
Tutorial
/experts
69 HoW to
use nexus2
76
80
easy guide:
blues concepts
78
geeK tecHniQue:
analysing reverbs
84
designer sounds:
vocal sound design
dr beat: claves
and timbales
Interview
88 elePHAnte
DownloaD
This issues exclusive
free content from
Computer Music
Step 1
Step 2
Step 3
On your PC or Mac, go to
vault.computermusic.co.uk,
then either register for a
new Vault account, or log in
if you already have one.
In tHe vAult
tHIs Issue
Hornet graffio Cm
Scratch the itch for saturation, excitation and
bitcrushing with this plugin giveaway, p10
samples
A huge pack of royalty-free
one-shots and loops to
give your tunes that
authentic house energy
and atmosphere, p12
Reviews
96
98
Tutorial videos
High-quality videos to guide you through
our tutorials. Wherever you see the icon
on the left, theres a video version to watch
See this issues entire video content on the next pages
Essentials
22
neWs
28
30
burning Question
32
subscribe
52
next issue
66
bacK issues
Tutorial files
114
CM Plugins
This digital content has been thoroughly scanned and tested at all stages of production, but as with all new software, we still recommend that you run a virus checker
before use. We also recommend that you have an up-to-date backup of your hard drive before using the content. Future cannot accept responsibility for any disruption,
damage and/or loss to your data or computer system that may occur while using this magazines programs and/or data. Consult your network administrator before
installing any software on a networked computer. If you have problems using our Vault download system, please contact vaultsupport@futurenet.com.
* Please note that the Producer Masterclass video is not available as a download. From
video
DISTORTION
SECRETS
Master this music production essential
Read the full article on p34
2 Harmonic distortion in
plugin emulations
3 Intermodulation
distortion: theory & practice
7 Using parallel
distortion in the mix
8 Subtle enhancement
with multiband distortion
9 Multiband distortion
on a clean sine bass
TIP1
DownloaD
Vocal distortion
5 Um cumquam rem
nonseque
de verspist
register new issues
and download
moredent
content. For more info, see our Vault FAQ:
bit.ly/cmvaultfaq
* Please note that the Producer
Masterclass video is not available as a
download via our Vault, though Apple
Newsstand users can watch the video via
built-in internet streaming.
video
GRAFFIO Cm
Check out this months free plugin giveaway
as we take it for a spin in this tutorial video
Read the full article on p10
mIXING FOR
SmALL
SpEAKERS
Well show you how to
replicate and mix for
tiny playback systems
Read the full
article on p55
1 Simulating a small
speaker system with EQ
BENTLEY JONES
See him at work in the studio, reconstructing
his track Passenger on Propellerhead Reason 8
2 Making bass
and kick cut through
3 Balancing a mixs
midrange for small speakers
* Please note that the Producer Masterclass video is not available as a download via our Vault.
See page 62 for viewing instructions, or watch on Apple Newsstand via built-in internet streaming.
video
Grab this issues videos via Vault download see p5 for details
HOW TO uSE
NEXuS2
reFXs beast of an instrument
is ready to be conquered
tame it with our tutorials
Read the full
article on p69
1 Accessing presets in
Nexus2s Library browser
3 Balancing and
adjusting Nexus2s Layers
7 Modulation
capabilities in Nexus2
8 Nexus2s Arpeggiator
and Trance Gate
9 Understanding the
Frequency Analyzer
/experts
EASY GUIDE
DESIGNER SoUNDS
GEEK TECHNIQUE
DR BEAT
BLuES
CONCEpTS
vOCAL SOuND
DESIGN
ANALYSING
REvERBS
CLAvES AND
TImBALES
Ronan Macdonalds
latest guide to Latin
rhythm and vibe
Read
Readthe
thefull
full
article
articleon
onp78
pxx
Read
the
full
Read
the
full
article
on
p84
article on
pxx
HoRNet
Graffio CM
download
Get the plugin, the video and
the Tutorial Files on PC/Mac at
vault.computermusic.co.uk
SATURATOR GAIN
Push your signal into the
saturation circuit, modelled
on a class AB amplifier
OVERSAMPLING
Toggle to activate
4x oversampling
DC OFFSET
Change the bias of the
saturators virtual transistor
for extra even harmonics
and more warmth
DRY/WET
Mix a modules
effect with the
unprocessed signal
QUANTIZE
Reduce the signals bit
depth from 24 to 4
LEVEL
Set the plugins
final output level
ACTIVE
When the lights blue, the
module is active. Press the
button to deactivate the module
TuTorial
Files
Exclusive samples
Retro House
download
Download the samples
onto your PC/Mac at
vault.computermusic.co.uk
Get back to the old school with this pack of royalty-free hits
readers by two masters of the trade
and loops, created just for
Feeling nostalgic? Come with us as we
take a step back into the world of classic
house music, where the bass is deep and the
grooves are tight. Our expert samplesmiths
have taken some vital house hardware
staples down from their attics, and theyve
cooked up a storm of 909 beats, classic
organs n pianos and low-down, dirty bass.
While youre waiting for your Vault download
to finish, why not read what the brains behind
this months pack have to say about the
bounty that lies within it?
Cyclick
Groove Criminals
VOL. 32
drum hits
multisampled instruments
bass loops
drum loops
FX
melodic loops
beat stripes
keys loops
SAMPLE PACKS
OFF THE
GRID
CaRTOON
CapERS
SpaRSE
SOUNDSCapES
Expand your
sample banks
by picking up single issues!
Grab a recent print version from
bit.ly/CMBackMFM, or get
dozens more in digital via Google
Play, Zinio or our iOS app. Youll
get the sample pack with every
digital issue since 182, thanks
to our Vault download system.
SampLE
VIP
SerieS
paCKS
Vault at bit.ly/cmvaultfaq
April 2016 / ComputeR musiC / 13
> download /
plugins
plugINS guIDE
INSTRUMENTS
Our exclusive collection
of instruments and
effects is included
with every issue of
Computer Music its
got all you need to
make great music now!
The
Plugins collection is a suite of complete, limitation-free
instrument and effects plugins. Its an incredible resource, boasting
more than 50 pro-quality plugins that you wont find anywhere else, all
for PC and Mac, in VST and AU formats. All of the included software is
created exclusively for us by respected commercial developers such as
Ohm Force, KV331 Audio, u-he, Cableguys, AudioThing, XILS-lab,
Vengeance-Sound, Rob Papen and zplane.
Where do I get
Plugins?
As a download from our Vault
(see p5 for instructions on how
to access).
How do I install
Plugins?
Youll find specific installation
instructions for each plugin
in the How To Install file in the
CM Plugins folder.
What do I need to use them?
A PC or Mac and a music program
HYBRID SYNTHS
v2.6
update
download
Klevgrnd Enkl CM
Classic monosynth design
Modulation, arpeggiator and effects
Based on the full Enkl synth
AU/VST 32-/64-bit
www.klevgrand.se
SAMPLERS
u-he Zebra CM
Blendable oscillator waveforms
Super-programmable step LFOs
Slick delay, reverb and chorus/phaser
Original synth designed just for CM
AU/VST, 32-/64-bit
www.u-he.com
Expert Sleepers
XFadeLooper CM
Creative crossfade-looping sampler
Hard sync mode Modulation
Saturation section Flexible looping
Based on Crossfade Loop Synth v3
AU/VST, 32-/64-bit
www.expert-sleepers.co.uk
Enzyme CM
Scanned synthesis sound generation
Straightforward preset-based setup
Assign presets parameters to controls
Based on the full Enzyme synth
AU/VST, 32-/64-bit
www.humanoidsoundsystems.com
Loomer Cumulus
Granular sampler
Scenes function for sequencing slices
Not based on an existing plugin
AU/VST, 32-/64-bit
focus
>
CURVE 2 CM
download
Download Curve 2 CM, the
videos and tutorial files at
vault.computermusic.co.uk
74
You
fine-tune
the
closercan
look at
Satson CM take
a
look at our YouTube video at
harmonic
content of
www.bit.ly/Ov2WMF.
your oscillators with a
great
dealby
of finesse
> Step
step
VIDEO
TUTORIAL
CMU185.t_plugins.indd 47
!
W
e
n CM Plugins TuTorial Bank
To help you get the most out of our immense plugin
collection, weve assembled the
Plugins Tutorial Bank,
containing over 100 guides and tutorials for our
Plugins,
specially selected from past issues. Youll find Getting Started
PDFs and videos for most of the individual plugins, along
10/25/12 12:16 PM
VIRTUAL
ANALOGUE
SYNTHS
DRUM
MACHINES
LinPlug Alpha CM
OTHER
AudioThing miniBit CM
XILS-lab PolyKB II CM
Models the ultra-rare PolyKobol synth
Packed with mix-ready preset variants
Knobs assignable to main parameters
Based on XILS-labs PolyKB II
AU/VST/RTAS, 32-/64-bit
www.xils-lab.com
AudioRealism ADM CM
Old-school-style drum machine
Emulates Rolands legendary TR-606
Also contains custom
samples
Based on the full ADM
AU/VST, 32-/64-bit
www.audiorealism.se
XILS-lab XILS 3 CM
Modelled on the EMS VCS 3 modular
Authentic oscillators, spring reverb
and ring mod circuits of the original
Added chorus and delay effects
Pin matrices to patch the signal flow
AU/VST, 32-/64-bit
www.xils-lab.com
Kirnu Cream CM
Master arpeggios with this MIDI tool
Get more out of plugin instruments by
controlling them with Cream CM!
Program and store complex patterns
Musical controls for rhythm and notes
AU/VST, 32-/64-bit
www.kirnuarp.com
zplane vielklang 2 CM
Camel Audio
Alchemy Player CM
brunsandspork Grooove CM
Innovative drum instrument
Load in two samples per sound and
choose how they respond to velocity
50 built-in
Micro Kits to play
Based on the full Grooove
AU/VST, 32-/64-bit
www.brunsandspork.com
Squaredheads Nora CM
Eisenberg Einklang CM
Morph between a trio of oscillators
Envelope and timbre controls
Modulate tone with the LFO
Based on the full Einklang synth
AU/VST, 32-/64-bit
www.eisenberg-audio.de
> download /
plugins
plugINS guIDE
EFFECTS
EQ/ FILTERS
FEaTurED Plugin
Cableguys
Curve 2.6 Cm
The latest version of this virtual
analogue synth plugin sees its
already-awesome waveform editor
upgraded with better visualisation and
the new Steps melody-creation tool.
With these, plus the recent addition of
new filter modes and below-deck
sonic improvements, Curve 2.6 CM is
truly the synth that keeps on giving.
www.cableguys.de
OverTone DSP
Program EQ CM
eaReackon CM-EQUA 87
Smooth three-band EQ
Adjustable low-cut filter
Switchable high/low shelves
Analyser, EQ tips, limiter and more
Based on eaReckons PR-EQUA 87
AU/VST, 32-/64-bit
www.eareckon.com
AudioThing ValveFilter CM
DYNAMICS
MULTI
EFFECTS
ANALYSIS
Unfiltered Audio G8 CM
Toneboosters Barricade CM
Intelligent mastering-grade limiter
Dynamic response controls
Stereo options and versatile metering
Based on the full Barricade
AU/VST, 32-/64-bit
www.toneboosters.com
HoRNet Fat-FET
SKnote Snap
Boost or tame transient brightness
Brighten or dull a sounds sustain
Uses two intelligently linked filters
Not based on any existing plugin
AU/VST, 32-/64-bit
www.sknote.it
FET-style compressor
Similar to classic 1176LN Peak Limiter
Ultra-fast attack as low as 0.02ms.
Based on HoRNet MultiComp
AU/VST, 32-/64-bit
www.hornetplugins.com
Photosounder Spiral CM
Musical, note-based spectral analysis
Useful for figuring out notes in audio
Based on the full Spiral plugin
AU/VST/AAX, 32-/64-bit
www.photosounder.com
OTHER
HoRNet DrumShaper
eaReckon CM-COMP 87
Slick, punchy compressor
Mix knob for parallel compression
Limiter to keep the output in check
Clear VU- and LED-style metering
Based on eaReckons SD-COMP 87
AU/VST, 32-/64-bit
www.eareckon.com
audioD3CK SunRuys CM
LVC-Audio Transector CM
Transient tweaking and saturation
Define and process envelope stages
Useful metering/display functions
Mix control for parallel processing
AU/VST, 32-/64-bit
www.lvcaudio.com
Vengeance-Sound Scope
Spectrum view for frequency analysis
Oscilloscope for waveform monitoring
Stereo phase and level metering
Tons of advanced analysis options
AU/VST/AAX, 32-/64-bit
www.vengeance-sound.com
Nyrv Agent CM
Toneboosters Sibalance CM
Pro-quality de-esser and de-harsher
Four modes for different use cases
Select reduction and Attack amounts
Based on the full TB Sibalance plugin
AU/VST, 32-/64-bit
www.toneboosters.com
> download /
plugins
plugINS guIDE
EFFECTS
download
GGet all of these effects on
your PC or Mac right now at
vvault.computermusic.co.uk
Continued
DELAY/
REVERB
DISTORTION/ SATURATION
Cableguys Waveshaper CM
Graphically editable distortion curves
Design curves by dragging nodes
Syncable input vs output oscilloscope
Not based on an existing plugin
AU/VST, 32-/64-bit
www.cableguys.de
Audio Assault
GrindMachine CM
Five amp and ten cab emulations
Three-band EQ plus depth and presence
Djentbox for tightening low tunings
Based on the full GrindMachine
AU/VST, 32-/64-bit
www.audioassault.com
Audio Assault
BassAmp CM
Inspired by Ampeg bass gear
Gain and Deep controls for added drive
Three-band EQ plus Mix blend
Choice of two cabinets
Not based on any existing plugin
AU/VST, 32-/64-bit
www.audioassault.com
LiquidSonics Reverberate CM
Convolution reverb
A selection of real-world presets
Import your own impulse response
Based on the full Reverberate plugin
AU/VST, 32-/64-bit
www.liquidsonics.com
Sonimus Satson CM
Classic mixer channel emulation
Subtle warming saturation
Gentle, musical high/low filters
AU/VST, 32-/64-bit
dsp.sonimus.com
Kuassa PreMix CM
Subtle saturation to screaming drive
Three-band Baxandall sweetening EQ
A/B comparison function
Not based on an existing plugin
AU/VST, 32-/64-bit
www.kuassa.com
ViDEo guiDEs
Our
Plugins Getting
Started videos are also on
YouTube. Head to the below
address to check them out:
bit.ly/CmpluginsVids
> news
news <
trackers &
Demoscene
We peruse updates to
two big trackers, a great
demo and a Bowie tribute
IK are taking a shot at the affordable end of professional audio, aiming at both mastering and monitoring
> news
Klevgrnd
Johan
Sundhage
Slate Digital
Virtual Preamp Collection
Sonivox Pitch2MIDI
Audiority TS-1
news <
years
back
We eyed some wacky
inventions that were
destined for the dump
Any Apple loyalists will have been suitably chuffed this month as the
company released three free new musical offerings. GarageBand for
iOS 2.1 (top-left) is a free update introducing Ableton Live-style Live
Loops, Logics Drummer feature, and support for Audio Unit
Extensions. Read all about it at bit.ly/GarageBandUpdate.
Elsewhere, Logic Remote (bottom-left) has now been brought
to the iPhone and iPad Pro, and the new Music Memos app
(bottom-right) aims to replace Voice Memos as a way to record and
develop musical ideas on iPhone. bit.ly/MusicMemos
AnTi MARKETing
Speaking of new albums, the
launch of Rihannas ANTI didnt
quite seem to go to plan last
month. It was accidentally released
on streaming service Tidal, and then
ended up being given away for free.
Or perhaps it was all one giant
marketing ruse all along
We reviewed an early
example of wearable tech
point-release upgrades that theyre
happy to let us have for free these days.
We also reported on Mackies intriguing
Satellite audio interface, which featured a
dock you could leave in the studio and a
pod that could be detached and taken
on the road. We liked the idea, but since
we havent seen anything similar since,
its safe to say this is one Satellite that
didnt take off as intended.
Finally, we reviewed an early example
of wearable tech in the form of the
GypsyMIDI controller. It did work, but the
fact that you looked like someone
recovering from multiple bone breakages
when you were wearing it might have put
> news
freeware news
If variety is the spice of life, this months tasteful bounty of
cross-platform free plugins is sure to satisfy your creative cravings
u-he Protoverb
With this experimental free plugin, you can help the
German software family furnish their new room
Most of our readers will be familiar
with algorithmic reverbs. These
effects simulate natural spaces using
myriad echoes that vary in pitch and time.
Traditionally, great pains are taken to
avoid resonances in an algorithmic
design. Protoverb (PC/Mac, VST/AU/AAX)
dispenses with such conventions, instead
building up its artificial spaces by piling
on as many resonances as it can in order
to recreate the body of air in a given
space. As it happens, this is a pretty
good way to simulate the effects of
churches, halls and other man-made
and natural environments.
All of this is very interesting, even if much
of the technical jiggery-pokery happens
VST4FREE
sH-it Bass
TBProAudio
stilt
Dotec-Audio
DeeGain
Whats on your
hard drive?
CONTRiBUTORS
Tim Cant, Scot Solida, Dave Clews, Danny Scott, David Newman,
Jon Musgrave, Ronan Macdonald, Ben Rogerson, Leon Bailey,
Charlie Bierman, Owen Palmer, Alex Williams, Tim Oliver
Photography: iStockphoto, Shutterstock
ADvERTiSiNG
For Ad enquiries please contact: Leon Stephens, leon.stephens@futurenet.com
MARKETiNG
Head of Brand Marketing and Newstrade: Laura Driffield
Marketing Manager: Kristianne Stanton
PRODUCTiON & DiSTRiBUTiON
Production Controller: Fran Twentyman
Production Manager: Mark Constance
Printed in the UK by: William Gibbons & Sons on behalf of Future
Distributed by: Seymour Distribution Ltd, 2 East Poultry Avenue,
London EC1A 9PT, Tel: 0207 429 4000
Overseas distribution by: Seymour International
CiRCULATiON
Trade Marketing Manager: Michelle Brock, 0207 429 3683
SUBSCRiPTiONS
UK reader order line & enquiries: 0844 848 2852
Overseas reader order line & enquiries: +44 (0) 1604 251 045
Online enquiries: www.myfavouritemagazines.co.uk
Email: computermusic@myfavouritemagazines.co.uk
LiCENSiNG
Senior Licensing & Syndication Manager: Matt Ellis, Matt.Ellis@futurenet.com
Tel: + 44 (0)1225 442244
MANAGEMENT
Managing Director: Joe McEvoy
Content & Marketing Director: Nial Ferguson
Editorial Director (Technology, Music, Film): Paul Newman
Group Editor-In-Chief: Daniel Griffiths
Group Art Director: Graham Dalzell
NEXT ISSUE ON SALE: 23 March 2016
Christian Smith
Future is an award-winning international media
group and leading digital business. We reach more
than 49 million international consumers a month
and create world-class content and advertising
solutions for passionate consumers online, on tablet
& smartphone and in print.
Future plc is a public
company quoted
on the London
Stock Exchange
(symbol: FUTR).
www.futureplc.com
All contents copyright 2016 Future Publishing Limited or published under licence. All rights
reserved. No part of this magazine may be reproduced, stored, transmitted or used in any way
without the prior written permission of the publisher.
Future Publishing Limited (company number 2008885) is registered in England and Wales.
Registered office: Registered office: Quay House, The Ambury, Bath, BA1 1UA. All information
contained in this publication is for information only and is, as far as we are aware, correct at the
time of going to press. Future cannot accept any responsibility for errors or inaccuracies in such
information. You are advised to contact manufacturers and retailers directly with regard to the
price and other details of products or services referred to in this publication. Apps and websites
mentioned in this publication are not under our control. We are not responsible for their
contents or any changes or updates to them.
If you submit unsolicited material to us, you automatically grant Future a licence to publish your
submission in whole or in part in all editions of the magazine, including licensed editions
worldwide and in any physical or digital format throughout the world. Any material you submit
is sent at your risk and, although every care is taken, neither Future nor its employees, agents or
subcontractors shall be liable for loss or damage.
We are committed to
only using magazine
paper which is derived
from well managed,
certified forestry and
chlorine-free
manufacture. Future
Publishing and its paper
suppliers have been
independently certified
in accordance with the
rules of the FSC (Forest
Stewardship Council).
ARTURiA MiNi v
Because I come from a hardware
background, I was drawn to the Arturia V
collection. The Minimoog gets used for most
of my basslines and stabs. The only problem
is that it eats up a lot of processor because
you have to EQ it, compress it and really
shape the sound. If you feed it straight into a
track, it feels way too heavy.
/ burning question
Is the mastering
process being
democratised?
iZotope
While its been possible to
do in-the-box mastering for
years now, there are many
more credible resources that help
people learn how to do it, so more
people are! Mastering no longer
means trying to fit tracks into the
Billboard Top 40 it means making
music sound good in whatever
context. However, it doesnt make
Harrison
LANDR
IK Multimedia
Softube
Professional tools are
getting more affordable
and more people are
learning how to use them, so in
that sense, the process is definitely
being democratised. However,
experience and good ears are not
easily purchased, so not everyone
will get a great result, even with
the right tools. But the same goes
for all parts of the process,
whether its songwriting, playing,
recording, mixing or mastering.
More musicians and artists are
mixing their own albums these
days, and I think its safe to assume
that more will try to master their
albums as well, regardless of
whether the outcome is good
or not. Niklas Odelholm
Illustration by Jake
GET YOUR
FIRST 2 ISSUES FREE!
http://myfavm.ag/GTDigital
Subscribeandsave
Choose your paCkage
prINT
DIgITaL
oNLY 63
oNLY 27
every 12 moNThs
every 12 moNThs
subscriptions <
VE
SA %
46
prINT + DIgITaL
ONLY72
every 12 moNThs
And more!
myfavouritemagazines.co.uk/CMUsubs
PricesandsavingsquotedarecomparedtobuyingfullpricedUKprintanddigitalissues.Youwillreceive13issuesinayear.IfyouaredissatisfiedinanywayyoucanwritetousatFuturePublishingLtd,3Queensbridge,
TheLakes,Northampton,NN47BF,UnitedKingdomtocancelyoursubscriptionatanytimeandwewillrefundyouforallun-mailedissues.Pricescorrectatpointofprintandsubjecttochange.Forfulltermsand
conditionspleasevisit:myfavm.ag/magterms..Offerends23March2016
download
Get the videos and tutorial
files on your PC/Mac at
vault.computermusic.co.uk
Clipping:themostbasicformofdistortion
As a computer musician, youll be familiar with
the use of waveforms to represent audio signals.
Spiky peaks are transients (such as drum hits),
and if you zoom in far enough repeating
cycles appear wherever theres a musical tone
(such as synth, instrument or vocal notes).
Distortion, in a music production context, is
an effect that transforms and deforms the curve
of a waveform, and the most basic variety is
clipping. Have you ever turned up the master
output of your DAW too much and found that
the signal meters maxed out, and the sound
became harsh, noisy and, well, distorted? If not,
try it now. Thats clipping in action! Theres a
maximum level that the audio interface can
handle (0dBFS), so any parts of the signal that
would exceed this point are simply clipped off
Valves are
revered for
their euphonic
distortion
Oddvseven
harmonic
distortion
We started off with the example of
digital clipping, but distortions
origins lie in the analogue devices
of yesteryear. Many such units are
now revered for their musical and
pleasing distortion, the quest for
which has led engineers right back
to classic analogue designs based
on valves, transformers and further
components such as field effect
(FET) or germanium transistors. All
of these have their own distortion
characteristics, and their
desirability has considerable
bearing on the demand for plugin
emulations. But what is it about the
distortions these designs produce
thats so likeable? The reality lies in
the balance and level of harmonic
distortions, their dynamic
behaviour and interaction.
Youll often see specifics quoted
about certain components, such as
transformers and tape saturation
both generating odd harmonics,
and valves generating even
harmonics. These generalisations
about components can be
misleading, as often its the circuit
design itself thats the critical
factor. Beyond this, certain
components may only distort a
limited frequency range
(transformers are a good example,
typically affecting frequencies up
to about 500Hz), and others
(valves for example) may react to
transients and clip in their own
specific way, exhibiting some form
of dynamic characteristics. Indeed,
youll sometimes hear engineers
talk about tape and valve
compression, and while these
devices do indeed affect dynamics,
its not compression in the usual
threshold and ratio sense.
Finally, you may be wondering
how distortions can generate odd
and even harmonics in different
amounts. In our clipping examples
on the previous page, we clipped
both sides of the sine wave
(symmetrical clipping) to generate
a raft of odd harmonics. If wed
clipped just one side (asymmetrical
clipping), wed have generated both
odd and even order harmonics.
Level,EQanddistortion
When working with distortion processors, its
vital to consider your levels and gain staging at
both the input and output stages. Weve already
looked at the basic relationship between gain
and distortion on the way in: raise a signals gain
into a distortion plugin (by turning up its output,
using the distortion devices input gain
parameter, or a combination of both), and the
waveform will be clipped, shaped or otherwise
altered. At the other end, the distorted signal
that emerges will typically sound far louder than
the undistorted signal.
In practice, then, there are two key points for
the producer to bear in mind: firstly, the level of
your input (ie, your pre-distortion signal) will
greatly affect the distortion response; and
secondly, youll almost always need to turn your
Paralleldistortion
Distortion can be a very extreme effect too
extreme, in fact, for many applications. The
increasing signal level, overtones and harmonic
content can be sonically overwhelming, which
is why so many distortion effects are combined
with some kind of filtering, particularly those
that introduce lots of odd harmonics.
But such effects applied to directly inserted
distortion will only serve to further distance
the source sound from its original state, and
we often dont want to mangle our sounds to
that degree. So, a great way to tame these
results is to combine the dry (ie, undistorted)
signal with the distorted version using a parallel
channel, send/return bus, or a plugin that has a
dry/wet control built in. Indeed, a lot of the
distortion you hear on pro tracks is applied in
Takingaimwith
multibanddistortion
Multiband effects are designed
to process separate user-defined
frequency bands of a signal in
isolation, and particular
favourites of ours in the
distortion department are D16
Groups mighty Devastor 2,
iZotopes Trash 2, the berpopular FabFilter Saturn, and our
own CrossDr CM by Tekit Audio.
The most obvious use for
multiband distortion is when
youre looking to beef up or
mangle a particular frequency
region within a dense,
multilayered signal such as a
drum loop or frequency-rich
synth sound. In the latter case,
you might wish to design an
aggressive, full-frequency bass
sound; if you simply apply
traditional full-band distortion
over the whole sound, the basss
low frequencies, which contain
the most energy, will likely
trigger the distortion effect first,
muddying up the low frequencies
and creating a distorted mess.
Instead, a multiband distortion
plugin can be used to focus the
effect only on the mid and/or
high frequencies, while leaving
the sub and bass areas
completely clean meaning that
you can push the upper areas
much harder and customise the
effect further.
Rockingoutwithguitardistortion
The first guitar amplifiers were intended to
cleanly amplify the clear, bell-like tones of the
electric guitar, but guitarists discovered that
they could edge their way into a new realm of
tone by deliberately cranking their gear past its
intended operating point. Crunch, drive and
rock n roll mayhem ensued, and distortion soon
became an intrinsic part of the sound of electric
guitar, to the point that some styles of music
simply would not exist without it.
The development of deliberate distortion
effects came about in the 1960s, the simplistic
clipping fuzz pedal being the first. Later came
compact overdrive and distortion pedals from
companies like Ibanez, DOD, MXR and Boss.
Eventually, amp manufacturers began to build
amplifiers with a distortable preamp stage that
Some styles of
music simply would
not exist without it
HOT VIDEOS
ON THE
CHANNEL
subsCribE for:
Exclusive hands-on sessions
with the latest software
www.youtube.com/ComputerMusicMag
17
hotdistortionplugins
Clippin heck! There are so many awesome ways to drive
your signal that weve drawn up a list of our favourites
AudioAssault
XCtr
www.audio-assault.com
IKMultimedia
Amplitube 4 Deluxe
Soundtoys
Decapitator
www.ikmultimedia.com
AudioThing
Vinyl strip
226 9/10 55
With a variety of modules associated with old
vinyl records (compression, turntable noise,
reverb, EQ, distortion, bit and sample rate
reduction), Vinyl Strip is one of the best value
all-round old-school distortions on the market.
www.audiothing.net
AudioDamage
iZotope
Kombinat DVA
ozone 7
www.audiodamage.com
www.timespace.com
OhmForce
MeldaProduction
115 9/10 99
Four bands of multimode distortion (chosen
from over 80-types), per-band dynamics, gate,
EQ and more make this MIDI-enabled effect
thoroughly unsuited to subtlety! Check out
our how-to guide for it in
215.
225 7/10 49
This company make many distortions, but the most
extreme is this multiband bit-manipulator. Offering
anything from subtle grit to skull-exploding digital
audio destruction, MBBF is one bad MF. Try the free
single-band version if you dare.
ohmicide
mmultiBandBitFun
www.ohmforce.com
www.meldaproduction.com
iZotope
PSPAudioware
187 9/10 67
For convincing analogue sounds and modern
digital naughtiness alike, this multiband jack of
all trades has just about every kind of distortion
you might want, plus some astounding tonealtering properties to transform your sounds.
trash 2
www.timespace.com
46 / Computer musiC / April 2016
psp VintageWarmer2
www.pspaudioware.com
FabFilter
saturn
179 10/10 99
This multiband saturation and distortion allows
convincing amp and tape recreation, classic
digital and analogue hardware simulation, and
experimental modulated patches. Saturn is
truly one of those rare desert island plugins.
www.fabfilter.com
Sonimus
Burnley 73
plugins
FREE with
Congratulations, dear reader! Just for
buying this magazine, youve now got
access to ten dedicated, pro-quality
distortion plugins, available to download
from vault.computermusic.co.uk. From
amp sims and hardware-style saturators
to flexible digital waveshaping and
multiband processing, theres plenty to
turn a track with a clean bill of health into
an extremely dirty, deranged monster!
Check them out on page 14, and discover
our latest, HoRNets Graffio CM, on p10.
SlateDigital
Virtual preamp
Collection
www.slatedigital.com
D16Group
Decimort 2
N/A N/A 39
An acclaimed recreation of the bit depth and
sample rate reduction characteristics of classic
samplers, with a list of presets to emulate
specific hardware, Decimort 2 is an ideal digital
exciter or for authentic old-school emulation.
www.d16.pl
www.sonimus.com
NativeInstruments
www.native-instruments.com
UniversalAudio
uAD thermionic
Culture Vulture
10
distortion 02
techniques
TwISTeDAMbIeNce
03
DISTOrTION,MeeT
cOMPreSSION
04
bASSTrANSlATION
05
01
VoCAl Distortion
VAryTOSTAyFreSh
06
reTAINDyNAMIcS
07
AllMODcONS
09
Got a synth with distortion? Bring its modulation matrix
into play to make more expressive use of the effect
08
polyphoniC Distortion
NIceVINTAGe
10
clIPPINGFOrlOUDNeSS
Check out
212s Modern Mastering feature to
see and hear a professional mastering engineer
demonstrate this technique.
April 2016 / Computer musiC / 51
Next issue
229
oN SALE
wednesday
23 MaRCH
ARRANGE
YOUR
TRACKS
wITH
VIDEo
foR eveRy
TuToRIal
PLUS! the faSt gUide to PUSh 2 / eSSentiaL rhythmS / geeK teChniQUe: trebLe triCKS / ProdUCer
maSterCLaSS: borai / mUSiC theory: advanCed harmony / dr beat: ShaKerS / + mUCh more
TS-1 cm
cINemaTIc
Drama
Bring the suspense and
urgency of the big screen
to your own tracks with
these exclusive sounds
revieWS aKai mPC toUCh / aUdioreaLiSm abL3 / SinevibeS fraCtUre / d16 groUP deCimort 2 /
SoftUbe fix fLanger and doUbLer / vaLhaLLadSP vaLhaLLaPLate / PSP 2445 / and more
download
MIXING
for SMALL
SPEAKErS
Make your tracks kick huge ass on tiny
systems with our mixing masterclass
download
See it in action in video
on your PC or Mac via
vault.computermusic.co.uk
Speakers
corner
The difference in tonal qualities of
dedicated studio monitors when
compared to smaller speakers such
as those used in a laptop or mobile
phone are obvious, with the little
uns being incapable of putting out
any serious low end, and often
lacking up top too. Why, though?
Well, just as American muscle car
addicts might say, theres no
replacement for displacement. That
is, size matters!
All speakers have at least one
driver, which converts electrical
energy into sound vibrations.
Reproducing low frequencies
requires a bigger driver and more
energy. A typical studio monitor has
two drivers in general, a lowfrequency woofer and a highfrequency tweeter and can
generally reproduce frequencies
from over 20kHz down to around
40-50Hz, giving a full sound.
But the drivers in domestic audio
systems can be tiny in comparison,
restricting the range of frequencies
they can produce. Low frequencies
(below around 200Hz) are easily
lost, and small speakers without a
separate tweeter may also struggle
to reproduce frequencies above
10kHz effectively.
All this means that a shiny, glossy
mix with plenty of sub bass will
translate well on quality monitors,
but it may not come across as
intended on a smaller system,
and could well lack the bass and
sheen altogether.
To compensate, many smaller
speakers use onboard processing
to, for example, give a hyped feel to
frequencies above 2kHz or add
density with compression. These
processes can bring out extra detail
in well-produced music, but they
can be equally ruinous to sound
quality if your tracks dynamics
arent right to begin with!
The obvious way to avoid this
situation is to test your mixes on
small speakers as you go easy to
do on a laptop by switching to the
internal speaker every now and
again. If youve not got any small
speakers handy, you can fake their
response using an EQ on the master
output and thats exactly what
were going to do in our
first tutorial.
TuTorial
Files
POWER TIP
Low-end theory
Weve all been there: after making a fat, subby
bassline that rocks the studio, you play your
masterpiece on your phone only to hear
nothing! One thing that smaller speakers can
struggle with is the low weight of a mix, but
using some clever techniques can help to craft a
mix that not only shakes the walls in a club but
also comes across well on dinky speakers.
A good starting point is to get the right
relationship between kick and bass. Big studio
monitors are great for getting a full picture of
how things sound, but they can sometimes give
a false impression of how the bass and kick
sound together due to the sub frequencies
masking or dominating the low mids especially
in a less than ideal listening environment. A
How do we add
harmonics to a
signal? Distortion!
TuTorial
Files
Midrange
control
We all love shiny treble and deep,
booming bass in our music, but
theres one area that carries
particular importance: the
midrange. Not all instruments have
a lot of high or low frequencies, but
most have a strong presence in the
midrange area between roughly
400Hz and 4kHz. This makes it a
particularly important area to get
right, avoiding any unwanted
frequency clashes that will only be
magnified by smaller speakers.
Listening on smaller speakers
now and again when mixing will
naturally bring the midrange into
focus, showing up the vital balance
between drums, lead vocals and the
presence of the bass. Small
speakers can also aid in getting the
kick and bass relationship right,
making it easier to hear if their
upper harmonics sit together nicely.
To help check how mixes will
translate in the real world, most pro
studios will have a pair of small
single-driver speakers with rolledoff bass and naturally subtle treble.
Dedicated, studio-oriented singledriver midrange speakers such as
the Auratone 5C (or clones such as
the Avantone MixCube or Behringer
Behritone) also have the advantage
of not colouring your signal by
putting it through a crossover
network, giving a clearer insight
into your mixs mids.
You can, of course, use just one
speaker for mono playback when
referencing to get a better idea of
mono compatibility and how your
mix might sound in the
supermarket or on a cheap radio. If
you dont have dedicated midrange
speakers to hand, any old small
speaker can be used to help home in
on midrange problems. Be aware
that modern speakers such as those
in a laptop or a portable Bluetooth
rig may apply unpredictable
psychoacoustic processing to give a
more hyped sound.
TuTorial
Files
5
58 / Computer musiC / April 2016
route 66
There are many signal routing options when
it comes to using small speakers alongside
your existing monitoring setup. You can bag
a dedicated monitor controller such as
Mackies Big Knob to switch between up to
three pairs of speakers, or if your audio
interface has enough outputs, use your
soundcards internal mixer instead. Some
DAWs also offer speaker switching features,
such as Cubases Control Room.
If your interface has multiple outputs and a decent mixer app, make use of it to output to multiple playback systems
teSt Driver
Kill two birds with one stone on boring car
journeys by checking your mixes as you
drive most standard car stereo systems
consist of similar speakers to a domestic
virtual reality
Dont want to clutter your studio with
umpteen pairs of reference speakers? Many
speaker correction tools such as IK
Multimedias ARC 2 or Sonarworks Reference
3 will not only calibrate your monitors (and
headphones, in the case of Reference 3), but
also allow you to hear what your mixes would
sound like played back through a selection of
virtual speakers, from consumer-grade gear
to professional studio monitors.
130
120
110
100
90
80
70
60
50
40
30
20
10
0
-10
pHoning it in
10
100
1000
10k
100k
Sub SlayerS
Dialling in lots of sub bass in the pursuit of
more bass might help when listening on
big speakers, but the perceived weight of a
bassline actually lies in the low-mid
frequencies. Using small speakers during the
mix process will help you enhance and refine
those areas.
a to b
Keeping the volume levels consistent can
really help overall decision making when
switching between multiple pairs of
speakers. Balancing your different speaker
sets by ear is a good starting point, or for
the more fastidious amongst us, using Bob
Katz K System to calibrate your speakers
to a matching SPL level will give a more
precise and repeatable result, ensuring that
when you set the volume knob to a certain
position, you get a specific SPL level.
be Creative
Only one pair of speakers? Get creative by
using whatevers to hand for referencing.
That naff Bluetooth speaker you got for
Christmas or the dusty old boombox in the
loft will do the job perfectly as would a
memory stick loaded with your music
plugged into the USB port that most TV sets
and DVD players now come with as standard.
Set-top boxing
With the right TV, you can stream your PC or Macs
output direct to its speakers, for referencing purposes
ON
SALE
NOW
Dont miss our Ultimate Production Tips 2016. Its packed with our greatest ever features
and comes loaded with video, tutorial files and more. Available in print and digital now!
www.computermusic.co.uk
Available digitally on these devices
Producer Masterclass
BENTLEY
JONES
VidEO
maSTErCLaSS
In this exclusive
tutorial, Bentley
shows us how he
made the epic Passenger
from The Rebellion in
Propellerhead Reason 8.
Watch it on your PC/Mac
at bit.ly/CMBentleyPM
62 / COmpuTEr muSiC / April 2016
10:55
02:17
Im a sucker for
these enormous,
great big beats
08:22
18:02
HeaR moRe
05:16
www.bentleyjones.com
soundcloud.com/bentleyjones
twitter.com/Bentley_Jones
facebook.com/BentleyJonesMusic
BaCk issues
Catch up on what youve missed all of
these issues include Vault downloads!
227
FREE
SYNTH VST/AU
!
W
NE
EXCLUSIVE DOWNLOAD
!
W
NE
ENKL CM PLUGIN
VOL. 31
OFF THE
GRID
900
OFF THE GRID
SAMPLES
Heavily swung
loops, MPC-style
grooves and more
INCLUDES
10 SYNTHS
TO DOWNLOAD
SYNTH
sounD DesiGn
Learn to synthesise stunning mix-ready
sounds with our state-of-the-art guide
BASS
40
VIdEOS
PADS
LEADS
percussion
HOW TO USE
PRODUCER MASTERCLASS
HANNAH V
NI RAZOR
FX
Issue 227
Issue 226
Issue 225
Issue 224
Issue 223
Issue 221
Issue 220
Issue 219
Issue 218
Issue 217
Issue 216
March 2016
October 2015
February 2016
September 2015
January 2016
August 2015
December 2015
July 2015
*Producer Masterclass in-studio videos only available with iOS and print editions for issues prior to
more BaCk
issues
aVaiLaBLe
Vault downloads available only from
221
November 2015
June 2015
Issue 222
Autumn 2015
May 2015
HOW TO USE
download
See it in action in video
on your PC or Mac via
vault.computermusic.co.uk
2.TheFrontPanel
ReverbandDelay
inNexus2
Nexus2s Mix page includes a
roster of excellent insert effect
modules, but for that allimportant reverb and delay, you
need look no further than the
front panel.
The Front Panel Delay comes
immediately after the Master
Filter in the signal path, and
turning it on automatically
deactivates any delay effects
employed by the layers in the
preset. It offers a choice of four
modes: Mono, Stereo, Cross Type
and Ping Pong.
The delay Time can be set,
from 1/32 to one bar, with triplet
and dotted options, and theres a
Feedback knob to feed the delay
output back into its input, plus
filtering and modulation
controls, and an overall dry/wet
mix knob.
After the Front Panel Delay
comes Nexus2s superb Front
Panel Reverb, licensed from
renowned DSP experts
ArtsAcoustic. Its Room, Hall and
Arena algorithms place the
source signal in increasingly
large and complex virtual spaces,
with control over their Decay
tails. There are also Mix, Lo-Cut,
Hi-Cut and Mod knobs, plus a PreDelay parameter to delay the
5.SystemandConfigpreferencesinNexus2
Clicking the Sys button to the right of the
central display opens Nexus2s System
page, wherein various global settings can
be tweaked, and expansion packs imported
and viewed.
The Master Tuning and Transpose sliders
pitch the whole instrument up or down by
Hertz and octaves, respectively. Velocity
Curve adjusts the response to MIDI velocity:
slide left to lower the response to highvelocity notes; slide right to increase the
response to low-velocity notes. Voices sets
the maximum number of simultaneous
voices, up to 128.
Arpeggiator Velocity Source switches the
velocity of Arpeggiator-generated notes
between that of the first note played and the
most recent, while Output Gain enables you to
raise or lower the global output by 6dB. Lastly,
tutorials <
76
Easy Guide
Music theory
with Dave Clews
78
Designer Sounds
Blues
concepts
Vocal
sound design
80
Geek Technique
Advanced production
with Owen Palmer
84
Dr Beat
Analysing
reverbs
Claves
and timbales
Dave Clews
#37
Blues concepts
download
Download the accompanying
video and the MIDI/audio files at
vault.computermusic.co.uk
>Step by step
TuTorial
Files
recommendedlistening
tHelonious monK,
BLUE MONK
A perfect example of a
major jazz piano blues
from a master of the genre,
complete with hipster
beanie and beard!
bit.ly/ThelBlueMonk
Kda, TURN THE MUSIC
LOUDER (RUMBLE)
bit.ly/KDAlouder
10
Dave Clews
ProtiPs
In a studio career
spanning almost 25
years, Dave has
engineered,
programmed and
played keyboards on
records for a string of
artists including
George Michael, Kylie
Minogue, Tina Turner
and Estelle. These
days, in between writing articles
for
and other magazines, he
collaborates on occasional songs
and videos with singer/songwriter
Lucy Hirst, aka Polkadothaze.
www.daveclews.com
Bendy Blues
11
neXt montH We take an in-depth look at harmonising notes from outside a scale
12
Designer
sounds
with Break
#21
>Step by step
download
Get the video and audio
examples on your PC/Mac at
vault.computermusic.co.uk
TuTorial
Files
Break
Recommendedlistening
Busta rhymes, Legend
of the faLL offs
Produced by my favourite
hip-hop beatmaker Premier,
this track has a loop of birds
chirping pitched rhythmically
with the drums most easily
heard in the first 20 seconds.
bit.ly/NasisLike
10
PRotiPs
distorted reality
11
12
Geek
Technique
with Owen Palmer
#18
Analysing reverbs
With so many virtual space processors out there, how
do you evaluate each one and truly learn its sound?
For most of my school life I had a really
bad reputation with the teachers. In my
defence, I always had good intentions and
was normally polite, but admittedly, I had a
hard time accepting some of the rules, and I
challenged authority whenever something
seemed unfair. I had an innate desire to ask
why things are the way they are. Why cant I
gaze out the window while the teacher reads
if I can still prove Im listening?
>Step by step
download
See the video and get the audio
demos on your PC/Mac at:
vault.computermusic.co.uk
TuTorial
Files
Owen Palmer
ProtiPs
verbCoder
10
As an in-demand
dance music engineer,
Owens worked with a
slew of outstanding
underground artists
behind the scenes
from his London
studio. After years of
meticulously studying
what makes a great
production tick, hes
promised to share his most
coveted techniques each month
exclusively in
. You can sign up
for Owens free email course on
making mixdowns easy at
www.owenthegeek.com/cm
verbrato!
11
neXt montH Owen shows you the treble tools hiding in his geek satchel
12
Ask
TonallydifferenT
Julian Ahmed
Could you explain why I notice a
change in the tone when using
different types of compressors. Arent they
supposed to adjust amplitude?
If your mixes look like this, you could have a serious harshness problem on your hands
HarsH words
Logan Atbud
I think young producers like me have
some problems with high frequencies (harsh
zones). How can you manage hi-hat, white noise
(in transitions), rides and clear synths in the
8kHz frequencies? I mean at the same time.
TranslaTiongame
Stephen Clay
Your thoughts please on getting
mixes to translate across different
systems. I would normally test in a few
different locations and fix issues with EQ,
sidechaining parts or possibly a bit of
saturation etc. Are there any strategies
(eg, with compression) that you use?
Fast
aNswers
summeroflove
Andrew Pakuts
Whats the deal with analogue
summing? Is it something worth
looking into?
Q
A
Thelowdown
Ben Sayward
When creating a bass-driven
track, how important is the
inaudible part of the sub bass in the mix?
And is a low-cut EQ (say below 20Hz) going
to help clean up the low end of the mix?
I obviously cant hear [those frequencies],
but I can see them on an analyser and
wondered if rather than boosting the kick
and cutting the sub to add clarity in that
area of the mix it may be that low low-end
thats muddying the mix. Is that the
frequency that I feel and love in the club?
Id investigate how
those ridiculously
low frequencies
got there in
the first place
openwide
Dolo Jones
To get some interesting spatial
effects, Ill sometimes hard pan
sounds or achieve width with mid/side
processing tools. When Ive played these
tracks in club situations Ive had no problems
so far, but I sometimes wonder whether Im
asking for trouble on certain sound systems.
Is there a general rule for how wide to pan
certain key elements, or safeguards to make
sure sounds arent lost?
Brainsqueeze
Aleksashka Zilkov
What always makes my brain
squeeze: if EQ does not saturate
and band shapes are as usual,
how can it possibly be that with
this EQ you can boost more than
with a regular EQ or this EQs
2dB boost sounds brighter than
that EQs 2dB boost?
You Got
QuestioNs?
We got the answers!
Dr
Beat
with Ronan Macdonald
#15
download
See it in video and get the
tutorial files on your PC/Mac at
vault.computermusic.co.uk
>Step by step Understanding and programming clave and timbale percussion rhythms
TuTorial
Files
The primary role of the claves in AfroCuban music is playing the foundation
rhythm of the same name. The two most
ubiquitous clave rhythms are called son
clave and rumba clave, and although they
sound pretty similar, each has its own
distinct feel. Heres the son clave. Check
out the rumba clave in the video version.
CAN I GET
ON MY iPAD,
iPHONE OR iPOD TOUCH?
where To GeT
HOW ABOUT ON MY
PC OR MAC?
To get
on the big screen, simply
use Google Chrome browser to buy
and read issues via the Google Play
sites online reader. Alternatively, use
Zinios desktop reader for issues
bought via Zinio.
PRINT
www.myfavouritemagazines.com
ZINIO
for PC, Mac, Android, iPad & more
www.zinio.com
GOOGlE PlAY
for Android & Chrome for PC/Mac
play.google.com
plugINS
PRO QUALITy
SAmPLES
EXPERT
TUTORIAL
VIDEOS
Koury Angelo
ElEphantE
The prog house producer and remixer for
hire reckons we shouldnt be afraid of pop
music you just need to add a little chaos
Steven Truong
Tim rates Massive as his favourite synth, and he cant get enough of Output Audios Exhale vocal instrument
Koury Angelo
Kit list
HARDWARE
Apple iMac
Apple MacBook Pro
Universal Audio Apollo Twin
M-Audio Oxygen 9
Mackie Big Knob
KRK Rokit 8
KRK 10S
Fender Stratocaster
Fender Jazz Bass
Martin 000C-16RGTE
SOFTWARE
Ableton Live 9
Waves plugins
UAD 610 preamps
UAD 1176 limiters
FabFilter Pro-Q
FabFilter Pro-MB
Native Instruments Massive
Native Instruments Kontakt
Reveal Sound Spire
Xfer Records Serum
Output Audio Exhale
Benjamin Czegeny
I hate choosing
drum samples its
probably my least
favourite part of the
songwriting process
Usually, the last thing I work on is the
drums. I guess there are two schools of
thought: either you put the kick drum front
and centre right from the start, or you build
up a song and then fit the drums around that.
I always go for the latter because I hate
choosing drum samples its probably my
least favourite part of the songwriting process.
If I build up the song before I start working on
the drums, it will at least give me something to
aim for.
The kick drum will always go in as audio.
That gives me maximum scope for fine-tuning,
and the rest of the kit will be samples.
Can I tell you quick story about the Katy
Perry remix? When I started messing around
with remixes, the business didnt seem to
be as heavily policed as it is today, so you
could get away with a lot more. I put together
a remix of Dark Horse and it started getting
quite a bit of attention. One day, my manager
rang up and said, Katy Perrys record company
have just been on the phone. They want to talk
to you.
My immediate reaction was: Whaddya
mean they want to talk? They want to talk about
Hear more
Age of Innocence
bit.ly/ElephAgeInn
Dark Horse (remix)
bit.ly/ElephDarkHorse
WWW
www.elephantemusic.com
soundcloud.com/iamtheelephante
twitter.com/iamtheelephante
www.facebook.com/iamtheelephante
GET
IN PRINT AND DIGITALLY!
TRY A FREE
DIGITAL ISSUE
TODAY FROM THE
APP STORE
www.myfavouritemagazines.co.uk
reviews <
What the
ratings mean
1-4 A seriously flawed product
that should be avoided
10
MINUTES
WITH
98
Wolfgang Palm
PPG Phonem
100
eaReckon
EAReverb 2
102
IK Multimedia Miroslav
Philharmonik 2
104
SKnote
Disto
106
zynaptiq
Unmix::Drums
108
Mini Reviews
Awarded to products
that challenge existing
ideas and do something
entirely new
If the product
exceeds expectations
for its price, it will
receive this gong
boost
Custom series lifts parallel
eQ bands only boost
HigH liFt
Present affects the upper mids,
and silky affects the highs
meter
shows the post-input, preprocessing level, to find the
processing sweet spot
drive/intensity
set the drive so that the
meter peaks roughly at
the bomb in the middle,
then set the effect blend
with the intensity
Filters
the high- and
low-pass filters
are very gentle,
delivering a highly
musical outcome
VIDEO
MINUTES
2 WITH
low liFt
big influences the weighty lows, and
Punchy emphasises the low to low-mids
tone
Choose one of three
frequency focuses:
two low and one
mid-range
Slate Digital
Going up
Slates subscription option kits you out with some of the finest mixing plugins on the planet
Sub machine
If you like the look of Slate Digitals
various plugins but cant afford to buy
them all outright, you might consider
their new subscription option. The
monthly subscription (currently $25)
enables access to the full current range
as well as any new ones introduced
during your subscription period. That
means all the VMR modules, Virtual Bus
Compressors, Virtual Tape Machines,
FG-X Mastering and LX480 Reverb.
Theyll even throw in the required iLok
2 key for free if you dont have one.
On the upside, you can pay for your
subscription annually or monthly, the
latter including the option to pause and
resume at any time very welcome for
Bomber command
Web www.slatedigital.com
Alternatively
Soundtoys Decapitator
152 10/10 $199
A seriously useful fattening
processor with five preamp
styles, drive and EQ shaping
Softube Tube-Tech Classic Channel
N/A N/A $489
Full-on valve EQ and opto
compressor experience
Verdict
For Excellent hybrid EQ
FG-Bomber is a solid alternative to
regular dynamics processors
Lift is a great sweetening tool
Integrated output trim
Against Rack still lacks flexible routing
Plugins only work in the Rack
With Custom Series EQ and Lift, and
FG-Bomber, VMR becomes an even more
flexible, interesting mix processing system
FG-Bomber 10/10
Custom Series Bundle 9/10
April 2016 / Computer muSiC / 97
PaGes
these three buttons switch
between the timeline, Parameter
and effects pages
Browser
organise presets, banks
and factory content
timeline
string phonemes
together into words
and phrases here
excitation
editor
controls the
frequency content
of the excitation
Generator
Phoneme
selector
Browse and
select phonemes
Freeze Fx
activate to freeze
Phonems reverb
and delay effects
VIDEO
MINUTES
2 WITH
source
select preset
utterances here or
program your own
trace
shows the modulation of the
resonator Filter from phoneme
to phoneme in real time
riBBon
controller
assigned to
pitchbend and ideal
for touchscreen use
EDITORS CHOICE
Wolfgang Palm
PPG Phonem
119
Alternatively
Plogue chipspeech
219 10/10 76
Vintage-style speech synth with
mental circuit-bending emulation
Vocaloid 4 Editor
N/A N/A $108
Generate synthetic vocals by
inputting lyrics and a melody
Verdict
For Generates interesting sounds
Very flexible modulation
Excellent sound quality
High-quality internal effects
Against Can be heavy on CPU
X/Y pads arent MIDI learnable
Cant adjust balance between
utterance and wavetable
A powerful, innovative vocal synth that
sounds awesome and isnt as hard to
use as it looks, Phonem is another winner
from the house of Palm
9/10
April 2016 / ComPuter musiC / 99
PoS modE
Access the X/Y grid for
positioning sounds by
panning and proximity
EArLY rEfLECtionS
Editor
freely drag Early
reflection taps around
EArLY
rEfLECtionS
ControLS
Control overall
early reflections
for level, pan,
filtering and more
Auditorium
A new algorithm
with its own near/
far control and
Bright setting
LAtE rEvErB
Choose from one
of six Late reverb algorithms, ranging
in length from 0.05s to infinite
dECAY
the parameter range
adjusts to suit the
currently loaded late
reflections algorithm
VIDEO
MINUTES
2 WITH
eaReckon
EAReverb 2
129
With its beautiful tails and simple interface, the original EAReverb became
a firm favourite with many producers. So, what has v2 got in store?
Released in 2011, EAReverb ( 164, 8/10)
was an algorithmic reverb plugin that used
one core algorithm to create a choice of nine
carefully tailored Late Reverb spaces (XXS to
XTREM). This was combined with an Early
Reflection section to deliver a wide variety of
natural-sounding spaces and ambiences. The
interface was straightforward, with a flip-down
panel at the bottom revealing advanced Early
Reflection editing, an AHR reverb gate, and a
three-band stereo processor for per-band
adjustment of stereo width and level.
It is a slightly
deeper, different
experience to v1,
but it retains all the
sonic charm
and general presets isnt entirely intuitive, and,
with no searchable browser, is the plugins
weakest point. Back on the upside, though, we
now have independent preset handling for the
ERs, with one ER preset designed to specifically
match each algorithm, and, as mentioned
above, the ability to save User presets. Also
useful is the new parameter lock function, for
loading a new preset while retaining selected
settings from the current one (just the Mix
settings, for example).
As in v1, the Natural algorithm generates
everything from barely-there width (XXS and
XS) to expansive, warm decay (XXXL and
XTREM). Mid-sized preset favourites from v1
Studio A and Studio B (which use the L and M
Natural spaces respectively) ably demonstrate
the subtle wooden room warmth at which
EAReverb excels.
The new Bright and Alu Box algorithms
deliver quite extreme processing the first fizzy
shimmer, the second tinny, fluttering resonance.
Both will help with special effects design. Plate
(the only mono in/stereo out algorithm),
meanwhile, captures not only the splashy
brightness (Plate Percussions) but also the thick
mids that plate reverbs can exhibit (Large Dark).
Auditorium is an altogether more lively
algorithm, particularly with its Bright setting
switched on. We like its additional Distance
control, too, which influences the late reverb
width to allow adjustment from near to far.
Finally, Reverse gives the classic reverb riser
effect (0.05 to 1.5 seconds), with the very
welcome inclusion of tempo sync good
thinking, eaReckon.
Lots to like
Pos Mode provides visual feedback of positional data for all loaded instances of EAReverb 2
In position
Pos Mode facilitates positional editing
beyond simple left/right control. The
X/Y grid includes a single location point
that governs a number of Early
Reflection parameters (Diffusion,
Complex, Spread and LF Cut), the Late
Reverb Filters (LF Cut, HF Cut and
Damp), overall Output Level, Wet/Dry
balance and Left/Right Pan. With the
exception of the Pan control, all of
these parameters follow the vertical
axis, and all but Pan and Wet/Dry
balance can be activated individually,
giving very flexible control. Every
parameter has lower and upper
limit settings that determine the extent
to which theyre influenced by
movement of the location point, and
Alternatively
2CAudio Aether
156 10/10 $250
A mind-blowing reverb with
almost 500 presets and endless
tweakable parameters
ValhallaDSP ValhallaRoom
166 8/10 $50
It may look a little basic, but its 12
superb algorithms are first class
Web www.eareckon.com
Verdict
For Excellent choice of algorithms
Good value
Infinite setting
Positional editing
All the v1 presets
Extensive ER editing
Against Basic preset browsing
9/10
April 2016 / ComputER musiC / 101
labEllIng
Instruments are informatively labelled, including
whether or not patches include looping
lEvEls
a level meter
for each part
InsTruMEnTs
The main presets
comprise single
articulations and
multiple articulations
with key, velocity or
mod wheel switching
MacrO
Each instrument includes
macro controls for easy
access to key parameters
InsErTs
Five mixer inserts for the
currently selected part
VIDEO
MINUTES
2 WITH
FX
Edit the currently
selected insert effect
PaTTErns
a full set of patterns that can be triggered from
the keyboard or dragged as MIDI into your DaW
IK Multimedia
Miroslav
Philharmonik 2
600
Philharmonik 2 is
effectively a
custom version of
SampleTank 3
Well orchestrated
Orchestral manoeuvres
Alternatively
Vienna Symphonic Library
Special Edition Vol 1
N/A N/A 295
An affordable, pared-down entry
into VSLs impressive library
Garritan Personal Orchestra 4
147 9/10 99
A more affordable all-in-one
orchestral package thats well
worth a look
Verdict
For Huge array of articulations with
consistent sound quality
Includes the v1 library
Excellent onboard processing in
SampleTank 3
Patterns library
Against No new percussion sounds
Things have come on a lot in ten years, and
v2 of Miroslav Philharmonik is a hugely
powerful one-stop orchestral shop
9/10
April 2016 / CoMPuter MusiC / 103
VIDEO
MINUTES
2 WITH
SKnote
Disto
$40
Fatso on a diet
Alternatively
Universal Audio Fatso
153 8/10 229
Great recreation of the Fatso Sr and
Jr with Empirical Labs approval
Sly-Fi OG Trifecta Bundle
224 9/10 $239
Features an excellent Distressoralike, Deflector ($99 on its own)
Verdict
Middle of the road
One thing Disto can do that its hardware
progenitors cant is operate in mid/side mode
although users of the real things can do it
themselves by applying separate units to
decoded mid and side channels.
In mid/side mode, the top compressor
channel and left saturator channels control
the mid signal, while the right/bottom deal
with the sides. The ability to set the
compression and saturation for both
elements of the stereo image independently
104 / Computer musiC / April 2016
8/10
VIDEO
MINUTES
2 WITH
zynaptiq
Unmix::Drums
199
Un::believable
Getting creative
The range of Unmix::Drums controls gives
scope for subtle and extreme processing, and
everything in between. For producers, the
level of precision on offer makes complete
rebalancing of drum loops genuinely
possible. If a loop is all good apart from, say, a
kick drum thats killing the rhythm, the Drum
Level and Threshold response curves can be
used to target and attenuate the offending
element. Its also very good for frequencyconscious transient shaping, emphasising
106 / CompUter mUsiC / April 2016
Alternatively
UAD SPL Transient Designer
135 8/10 149
Although Unmix::Drums is unique,
its reminiscent of SPLs legendary
device when used on solo drums
iZotope RX 5
225 10/10 329-815
In theory, you can manually isolate
drums and adjust levels with RX
Verdict
For An original concept, well executed
Intuitive GUI
Broad range of control
Huge creative and corrective potential
Frequency response curves for precision
Against M/S setting doesnt give
independent mid/side control
No solo monitoring of processed signal
Another quasi-magical plugin from
zynaptiq, Unmix::Drums really does give
you the ability to boost and attenuate
drums in a mix, collectively or individually
9/10
mini reviews
ondioline
79
Web www.soniccouture.com
Format PC/Mac, Kontakt 5/Player
Impact Soundworks
shreddage 2 iBZ
$139
Web www.impactsoundworks.com
Format PC/Mac, Kontakt 5/Player
$149
Ample Sound
Korg
$119
iDs-10
15
Web www.amplesound.net
Format Mac/PC, VST/AU/AAX/RTAS/standalone
Web www.korg.com
Format iPhone
Soundware round-up
Sample Magic
Golden era 35
Another classic hip-hop-style library, Golden Era is
cleaner and more structured than the grittier, dustier
Smokers Unite, but neither is qualitatively better
than the other. Sample Magics contender comprises a
whopping 1382 samples, including mini break
construction kits, drum, percussion, synth and vinyl
noise loops at 80, 90 and 100bpm, and a ton of oneshot drums, FX, stabs and more. Hip-hop is the
overarching theme, but theres more to it than that. In
addition to the quality of production, the volume of
content included makes this a crazy bargain.
www.samplemagic.com
n10/10n
Zero-G
other Worlds 56
A 4.6GB library of extended textures and ambiences
by Adam Pietruszko, Other Worlds 500 lengthy (up to
1m44s, with most around 30s) samples are divided up
into Futuristic, Industrial, Mellow and Suspense
folders. There are multiple variations of each sound at
different pitches and keys, but you still get a decent
amount of material for the money. Tonally, Other
Worlds ranges from decidedly abstract to subtly
melodic, although its largely of more relevance to
sound designers than music producers.
Raw Cutz
smokers unite 50
The follow-up to the excellent Turf
Smoke (9/10,
217), which is actually
included (hence the high price
owners of Turf Smoke can upgrade for
25), Smokers Unite is another hazy
virtual crate digging session, featuring
146 laid-back, jazzy loops and 255 oneshots, plus 16 small but perfectly
formed Live and Maschine projects/
Groups/Drum Racks. The sound and
vibe of golden era hip-hop has
been captured to a T, with a broad
range of real instrumentation covered;
and we love the attitude and spirit of
both collections.
www.loopmasters.com
n
9/10n
www.timespace.com
n8/10n
Sampleloops
elements of techno 20
Put together by a respected techno producer whose
releases have been played out by many of the worlds
top DJs, Elements of Technos 556 loops and hits are
raw, elemental and earthy, and land at a price that
cant be argued with. Techno being the understated
genre that it is, theres nothing particularly
spectacular here (the separated drum loop elements
kick, snare, hats, etc are positively by-thenumbers), but EoT has a convincing authenticity to
its production and sound that make it well worth
checking out.
www.sampleloops.com
n8/10n
Loopmasters
ultimate Vocals 45
A best of compilation of vocal loops and lines from
across the Loopmasters catalogue (far too many titles
to list), at 3.5GB in weight and 2000 samples in, err,
height, Ultimate Vocals cant help but constitute good
value for money, and by and large, the quality level is
high. With so many genres represented from blues,
funk and pop to DnB, trap and house theres
something for everyone, although the scattergun
approach might render most of it redundant for many
producers, depending on how stylistically adventurous
theyre prepared to be.
www.loopmasters.com
n8/10n
Goldbaby
Incognet
superAnalog909 $29
www.goldbaby.co.nz
sounds.beatport.com
n9/10n
n8/10n
Mode Audio
Sample Magic
resonate 15
underground House 35
www.modeaudio.com
www.samplemagic.com
n8/10n
n8/10n
Samplephonics
Samplephonics
elevated Consciousness 35
Neuro rage 35
www.samplephonics.com
www.samplephonics.com
n8/10n
n7/10n
Loopmasters
Mode Audio
string theory 18
www.loopmasters.com
n8/10n
www.modeaudio.com
n8/10n
Future Music is the mag for the latest gear and how todays cutting-edge music makers use it.
Weve been making the future since 1992. Make sure that youre part of it.
blast
from
the
past
buchla 100 richard smith electricmusicbox.com
tech SPecS
Year of manufacture
1964 - present
Original sale (commissioned)
$500
Current price
Full systems starting at $5299
1
0
1
69
$9
9
encoreaudio iMMensity
9000