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Electronic Musician

Electronic Musician March 2020

The new ELECTRONIC MUSICIAN is a “must have” resource for anyone who makes music, plays music, and shares music. Every issue includes "gig tested" product reviews on music gear, tons of how-to's, and interviews with today's stars revealing the secrets of their songwriting approaches and audio-production concepts.

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United States
Future Publishing Limited US
$8(Incl. tax)
$40.07(Incl. tax)
12 Issues

in this issue

1 min.
editor’s note

Raiders of the lost ARP At the time of writing we're still a good few weeks away from the annual NAMM show in Anaheim, but it already looks like Korg could well be the brand to steal the show this year. Front and center of the Japanese brand’s line-up is this issue’s cover star; its revival of the iconic, semi-modular behemoth, the ARP 2600. This latest remake doesn't come entirely out of the blue. Ever since Korg partnered up with original ARP designer David Friend to revive the Odyssey back in 2015, punters have been wondering if and when Korg would turn its attention to that synth’s bulkier sibling. You can find our full review over on page 36, for a in-depth examination of how this latest version measures up. I was lucky…

5 min.
new gear

Combining wave sequencing and vector synthesis, Korg’s original Wavestation was one of the defining instruments of the early-’90s, notable for its ability to string multiple sampled waves together to create evolving sounds and complex textures. Now, three decades later, Korg is releasing a follow-up with Wavestate. Wavestate is powered by an engine Korg is calling “Wave Sequencing 2.0”. This is multi-timbral, capable of generating four sound layers, each of which can host either a standard multi-sample patch or a wave sequence of up to 64 steps. The key difference compared to the original comes with the introduction of six sequencing lanes, which allow for each wave sequence to have its sample and playback parameters – such as pitch, timing, crossfading and length – programmed independently. This allows for the creation of…

3 min.
soft opinions

As one of Electronic Musician’s cadre of Editors At Large, James is responsible for keeping his finger on the pulse of the music software world, reporting on the latest developments in plugins and DAWs. He also takes a more irreverent look at music software as co-host of Appetite For Production Podcast, and is often to be found creeping about on Twitter: @rusty_jam In 1971, with the Minimoog, Moog established ‘how synthesizers should work’ for the next few generations of electronic musicians. With that now-familiar signal path – oscillators through a mixer, filter and envelopes, with some LFO modulation in tow – the gauntlet was thrown down. Since then, the most significant innovations in synthesis history have mostly taken place in the exact same area: the oscillators. Polyphony increased the number of voices…

8 min.
this month in software

Arturia releases the Pigments 2: “To say we’re proud is an understatement” A dual-engine, dual-filter synth plugin with a bountiful supply of effects and a built-in sequencer, Arturia’s Pigments has been a big hit. Now, a year after its launch, we have version 2, which promises to add even greater depth and functionality. One of the big headlines is the new sample engine. Hundreds of samples come supplied, and you can also import your own. These can be loaded into six slots, and you have six playback modes, and there’s further fun to be had when you start using Pigments’ highly regarded modulation features. There’s now a granular mode, too: samples can become granular synth patches with a simple button press, and there are density, envelope, size and randomization parameters. Elsewhere, the sequencer has…

11 min.
dramatic impact

As those working in music production develop their skills and begin to pay closer attention to the way in which music they admire is made, one question arises more frequently than any other: "how do I make my music sound like that?" Rarely are those asking that question thinking about harmony, melody or "treading on the toes" of the musical foundations of admired tracks. Instead, it’s usually asked as a lament to the fact that commercial tracks often sound wider, bigger, louder, punchier, more dynamic and, somehow, more impactful. And, of course, the temptation is to imagine that the way to bring similar levels of "impact" to one’s own tracks is to add more and more and more layers as, surely, more parts equals more impact. Right? As we’re going…

1 min.
fight back against lazy sample library usage!

As you’ll be all too aware, there are sample libraries for every instrument group these days. Synths, orchestral instruments, percussion ensembles, vintage and rare instruments… it’s hard to think of a sonic category which isn’t fully stocked with assorted sample library options. For all of the upsides of having such ready access to high quality sounds, this proliferation of content does make it harder to make your own productions stand out, partly because – in truth – too many of us have become a little lazy. It’s easier to scroll through lists of presets than it is to start sound designing dramatic sounds of your own. Yet it’s a DIY approach which will really set your sounds apart. No matter how you interpret the words "dramatic impact" in the context…