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Electronic Musician

Electronic Musician September 2018

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.

国家:
United States
语言:
English
出版商:
Future Publishing Limited US
出版周期:
Monthly
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12 期号

本期

1
the future is now

Careful readers of EM may have noticed something different in these pages over the last couple of issues. Although it may seem subtle (nestled as it is at the bottom of page 8), it indicates a significant change: On April 4th, 2018, New-Bay Media was acquired by Future PLC, a “global platform for specialist media” with a wide-ranging portfolio of print titles, events and online content. The acquisition not only gives the UK-based publisher a major foothold into the U.S. market but provides them with a stable of business-to-business magazines. EM and keyboardmag.com are now part of Future’s Music division, which includes titles you may already be familiar with, such as Future Music, Computer Music and musicradar.com. A major benefit of this change is that it will allow us to tap…

3
timeless relevance

As the Editor-in-Chief of keyboardmag.com, it’s painful to admit that in 2018 very little of Contemporary Keyboard (or the early years of Keyboard) is available in reprints or online, though not for a lack of desire to make it happen. Just getting those issues onto the web, in an attractive and readable form, is not a trivial (nor inexpensive) task, and certainly not as simple as automatically scanning a bunch of back issues. Frankly, the resources were never allocated for such an endeavor. There is so much amazing stuff in the archive that should see the light of day once more. But I’m glad I was in the Editor’s chair when I got the email from Evon Burge about her idea of collecting the late David Burge’s Keyboard articles into a…

1
diy snapshots 2

4
new gear

1 BEST SERVICE/KEEPFOREST AIZERX MODERN DESIGNER TOOLKIT, AIZERX TRAILER SFX DESIGNER TOOLKIT Sound design software $299 and $399 HIGHLIGHTS Fully customizable sound libraries featuring signals, alarms, risers, benders, whooshes, transitions, and much more • smart sample randomization features to create unique content • synth-style parameters include filters, LFOs, 4-stage envelopes, x/y expression pad, and various sample-playback modes • Modern Designer includes drum kits such as Trap, Hip-hop, and Modern Hybrid • full version of Kontakt 5.8 recommended TARGET MARKET Composers, media professionals ANALYSIS Two software packages providing pro-level content and features that even beginners and inexperienced sound designers can use. bestservice.com 2 ALESIS NITRO MESH Electronic drum kit $349 HIGHLIGHTS 8-piece kit with mesh-head drum pads: 8” dual-zone snare, three 8” toms, kick-drum pad, and three 10” cymbals • crash-cymbal pad includes choke sensing • hi-hat pedal • 4-post aluminum rack •…

7
fumana

One of the most exciting Eurorack module releases in the past few months is the Frap Tools Fumana. Referred to as a Dual 16 Bands Spectral Editor [sic], the Fumana is based on the Buchla 296 and 296e Spectral Processor, which you could think of as a dynamic 16-band graphic EQ, where each frequency band under voltage control. The module’s purpose is to give you the ability to transfer the energy of eight frequency bands to another part of the spectrum, including movement from the even to odd bands, and vice versa. When I reviewed the Buchla 200e system for EM in 2011 (available at emusician.com), the 296e was one of my favorite modules to use—not only for vocoder-like duties, but as a wide ranging, real-time spectral processor of audio signals…

3
stereo or mono

For a brief moment in the ‘90s, I employed a stereo guitar rig. It comprised a Fender Pro Junior amplifier, used exclusively as a preamp by bypassing its speaker (though not its power tubes), plugged into a Marshall load box that sent the signal to an Alesis Quadraverb. From there it was split and sent into a stereo MOSFET power amp, and then into two custom-built 1x12 cabinets. The Quadraverb let me to run one side dry and the other with no original signal; just a slight pitch shift and delay. That kind of stereo rig is commonly known as “wet/dry,” with the processed signal emanating from one speaker and an un-processed signal coming out of the other to create a stereo spread. Another method of creating stereo is to use a…