Computer Musicの November 2017 の目次

 According to one annoying pop singer, it’s all about the bass… and this is truer than ever for this special low-end-focused issue of ! No matter what subgenre you produce, or on what system your music is designed to be listened to, low-end weight and clarity are of paramount importance. So whether you’re after pure sine power to shake subwoofers, classic synthesised low-end for smoothness, or funky bass guitar to get toes tappin’, our 100% Bass guide (starting on p20) is for you! “Weight and clarity are of paramount importance” Next up, we jump straight into a special three-part DnB artist special: across 16 pages and a trio of in-depth videos, you’ll discover next-level mastering tips from Bristol basshead Break; uncover creative strategies with neuro whizz InsideInfo; and see BCee…

The state of plugin reverbs back in the late 90s and early 00s was a sorry one. Unrealistic, grainy echoes and metallic, ringing tails were the best our feeble Pentium CPUs could muster. Things are very different now, of course, with a whole vista of pristine-quality space simulations to explore. But where do we go from here? Once you’ve hit peak reverb, what’s left to conquer? These five new unconventional ’verbs may hold the answers… Rob Papen RP-Verb 2 We dubbed the original RP-Verb “a sound design powerhouse” in our review (9/10, cm 146). The headline addition for RP-Verb 2 (£119) is the Reverser section, for tempo-synced reverse reverb effects. New modulation sources include Envelope Follower, Envelope and LFO, routable in the also-new Mod Matrix. There are fresh Distortion algorithms,…

GO FIGURE We’re not sure if Propellerhead splitting off its Allihoopa social music network into a separate business is good news or not, but the fact that the company’s Figure and Take apps have gone with it could mean we’re one step closer to Reason on the iPad. D-50 DELIGHT Producers of a certain age will be delighted to know that, following the release of a software version in their Cloud, Roland have brought back the 80s classic D-50, in the form of the D-05. Now we just need to work out where we’re going to use that Digital Native Dance preset... PRIZED PROCESS Congratulations to Sampha on scooping the Mercury prize for his album Process. There’s plenty to recommend about his blend of electronica and forward-thinking R&B, and he…

This issue, we’re all about that bass, and while we’ll take you through tips, techniques and walkthroughs to help you get the baddest, most heavyweight bass around, we’re going to kick it off with some science. If that doesn’t sound like you, feel free to flip a couple of pages ahead, but if you’re able to digest a bit of Acoustics 101, we can help your bass grow big and strong with some help from mother nature. When most people talk about bass, they’re talking about low frequencies in general. As producers, though, we get a bit more specific, breaking it down into bass (about 60Hz to 250Hz) and sub bass (everything below 60Hz). But man cannot live on bass alone – as you’ll find out, other parts of the…

Play a note from a saw wave oscillator – any note, not just bass – and check out the resulting sound on a frequency analyser. What you see are a series of harmonics, starting at the frequency of the note you’re playing, and continuing at intervals of that frequency. For example, in the image below we’re playing an A2, which is 110Hz. We see a harmonic at 110Hz, then the next at 220Hz (110 x 2), another at 330Hz (110 x 3), 440Hz, 550Hz, 660Hz and so on. Switch the oscillator to a sine wave, though, and you should only see one of these harmonics – the original 110Hz (if you see more, you may have some distortion in the signal path). We can actually start to recreate the saw…

Featuring four fat, chunky strings tuned to the notes E, A, D and G, the electric bass guitar came to the fore in the 60s, backing up Motown hits and pop/rock tracks alike. Successive decades brought bouncing disco octaves, rumbling dub subs, machine-gun slap bass, and more. Today’s bass guitar vocabulary draws on pretty much the entire history of the instrument. Borrowing from the past, you have the retro vibes of Mark Ronson feat. Bruno Mars’ Uptown Funk and Daft Punk’s Random Access Memories. But looking to the future, we find the clanking, machine-like bass of modern metal acts, often utilising five-string (or more) guitars for extended range, and even fanned-fret, multiscale designs to deliver stability at ultra-deep tunings. You can get all these sounds and more in your own…

Recently, hardware synth fans have been all abuzz over the OB-6, Tom Oberheim’s collaboration with Prophet-5 mastermind Dave Smith, and for good reason – the OB-6 is a keen reminder of the massive sound that made Oberheim a success in the 70s and 80s. Oberheim’s first synth, the SEM (Synthesiser Expander Module), was not a standalone instrument, but rather a keyboardless synth-in-a-box designed to be interfaced with then-popular monosynths. Oberheim would eventually lash multiple SEMs together to form primitive-but-powerful polysynths. The fact that the parameters of each of the modules had to be individually tweaked meant that none of the voices ever quite matched, resulting in a gargantuan sound. The SEM-based polysynths were eventually replaced by the OB-X, a programmable poly that stuffed the individual synth circuits away under the…

Arguably more than any other track element, designing bass sounds requires a precise and fairly scientific approach. Creating a powerful bass that still manages to avoid muddiness can be a daunting task and, possibly for this reason, producers tend to be less experimental when it comes to bass compared with other track elements, often favouring tried-and-tested bass sounds rather than thinking outside the box. This is a shame, because getting experimental with your bass can lead to results that will make your tracks stand out from the crowd. In broad terms, pretty much any sound pitched, EQed or filtered down to the appropriate frequency can be transformed into a bass part. The trick is to use a source that will work well with other elements of your track, in terms…

Despite the fact that wimpy audio playback systems such as smartphones, tablets, Bluetooth speakers and earbuds are the primary means of music consumption these days, there’s still a lot of love for bass-heavy electronic genres such as grime, DnB, reggae, UK bassline and hip-hop, which all demand a razor-sharp balance of bass parts geared towards maximum sound system impact. And even if you’re not a club music obsessive, there are still a ton of reasons why getting low frequencies to work well in a mixdown is vital. No matter what music you work on, pretty much every decent mix in existence is built upon a solid, consistent and powerful low end, as getting this foundation right provides a platform to build the rest of the mix on top. With the…

As an essential part of the rhythm section, together with the drums, your track’s bassline is the component that forms the crucial link between the rhythmic and musical elements of the tune, yet it’s often the thing that gets the least attention when it comes to choosing the actual notes it plays. An awesome bassline can easily be identified by whether or not it makes you do a ‘bass face’ – if you can’t stop yourself from pursing your lips and thrusting your chin back and forth like a chicken, then you know you’ve got a winning bassline on your hands. From the simple, rootsy funk plodding of Daft Punk’s Da Funk to the almost baroque, distorted flailings of Muse’s Hysteria, a great bassline can be the making of your…

Ronan Macdonald Having previously served as Editor of drummer’s bible Rhythm as well as Computer Music, Ronan is clearly the right man for this particular gig. He’s been playing drums for over 30 years and making music with computers since the 90s. In all forms of music involving the drum kit – be it acoustic or electronic – the relationship between drums and bass is key to achieving a powerful, energetic rhythm section. Actually, we can be even more specific than that and narrow it down the partnership of kick drum and bass, as we’re really talking about making those two particular low-end elements work together to bring solidity and vibe to the all-important bottom end of the mix – the foundation of any groove, on which the hi-hats, snare…

Divergent Audio Group Chordscape £75 Described as a “soundscape tape loop sequencer”, this scripted library for Kontakt 5 comprises four looping ‘tape machines’, each one accessing a 6GB bank of instrumental, environmental and electronic sounds, and offering an LFO-modulated multimode filter, tape saturation, and adjustment of pitch, pan, wow and flutter, four send effects, and more. There’s a step sequencer for every deck and every main parameter, and 400-odd Snapshots make a great showcase, proving Chordscape to be a stunning source of evolving drones, textures and ambiences. www.kontakthub.com n 9/100 Loopmasters Jazz Master – Keys £40 An enormous collection of piano and Rhodes loops performed by award-winning Brit pianist Craig Milverton in the styles of jazz legends Oscar Peterson, McCoy Tyner, Chick Corea, Bill Evans, Herbie Hancock and Keith Jarrett. Milverton’s…

HYBRID SYNTHS Our synths have been created by the best software developers in the world to bring you a suite of sound-making tools for all music production scenarios u-he Zebra CM • Blendable oscillator waveforms • Super-programmable step LFOs • Slick delay, reverb and chorus • Original synth designed just for CM • AU/VST, 32-/64-bit www.u-he.com Enzyme CM • Scanned synthesis sound generator • Easy-to-use preset-based synth • Assign parameters to controls • Based on the full Enzyme synth • AU/VST, 32-/64-bit humanoidsoundsystems.com KV331AudioSynthMasterCM • Dual wavescanning oscillators • Multimode filter and built-in effects • FM/AM synthesis modes • Based on SynthMaster 2.5 • AU/VST, 32-/64-bit www.kv331audio.com Cableguys Curve 2.6 CM • Design-your-own-waveforms synth • New waveform capabilities for v2.6 • Phat 16-voice Unison mode • Based on Cableguys Curve…

So how does your DAW know where to look for your plugins? Actually, it might not. Mac users have it easy, as there are OS-specified folders into which plugins are installed. These folders can be found by going to your Library folder (if you can’t find it, go to the Finder’s Go menu, hold Alt, and a Library option should appear). find the Audio directory, and then the Plug-Ins folder within. There you will find more folders still. One will be labelled Components – this is where your AU plugins reside. Other folders will be found alongside it for VST and VST3 plugins. If you’re a Pro Tools user, you’ll find your plugins in an Avid or Digidesign folder. If your installers don’t automatically install the plugins into the proper…

DUBSOUNDS SAMPLES Dubsounds have gathered this inexpensive collection of DR-cm1cm10 beats and presented them as ReCycle RX2 loops, along with cm128 WAV hits. The loops contain all cm16 of the DR-cm1cm10’s factory preset patterns, along with another cm16 custom patterns from Dubsounds. You get an impressive 25MB of sounds for five bones. www.dubsounds.com RHYTHMIC ROBOT DOCTOR 110 At a mere £3.75, it’s almost impossible to resist the analogue snap, crackle, and bop of this cheeky Kontakt contraption. Crafted from a meticulously sampled DR-cm1cm10, it offers control over accent, volume, and pan of each of the six sounds, while adding bit reduction, tube and distortion effects, and velocity sensitivity. www.rhythmicrobot.com AUDIOREALISM ADM CM If you’d prefer a dedicated drum machine plugin to a collection of samples, you already have a great…

Unlock an issue Log into FileSilo on your PC or Mac, then just click an issue and answer a question – you’ll have to reference the magazine to get the answer. Import older mags FileSilo will replace our old Vault system, and you’ll soon be able to migrate your added mags from one account to the other. FREE PLUGIN INVALVE 2 EFFECTS Audified’s compression, EQ and preamp plugins are worth $49, but they’re all yours for free with this issue of the mag, p58 SAMPLE PACKS 1,222 FREE SAMPLES Get our Subs & Sines and Chilled Electronica sample packs, plus a bonus collection from Loopmasters – all royalty-free for use in your tunes, p104 PLUGIN COLLECTION CM Plugins Our exclusive collection of free plugins for Mac and PC. Check ‘em…

Korg’s iMono/Poly app didn’t exactly come as a surprise – the company had already emulated the Mono/Poly as part of their Legacy Collection for desktop – but it’s still a very welcome addition for iPhone and iPad. This is a four-VCO monophonic synth that can also be used polyphonically. All the functionality of the original has made it to your touchscreen. You also get two multieffects units and eight virtual patches. The introductory price is £19.99/$19.99. www.korg.com In more 80s hardware-emulating news, Elliott Garage has released the EGDR606, an iOS version of Roland’s TR-606 drum machine. Though not as well known as the 909 or 808, this still has its fair share of fans, and Elliott’s version retains the original’s look and feel. You have parameter editing for…

“Apple’s flagship DAW was now being offered at the ‘incredible price’ of £319” ‘Is modern software too complicated?’ we asked in November 2007 ( 119). The answer was, perhaps unsurprisingly, inconclusive, but this was before the era of single-knob plugins, so you could probably argue that at least some of it has got less complicated since. Our Logic Studio review, meanwhile, praised the fact that Apple’s flagship DAW was now being offered at the “incredible price” of £319. It’s since dropped to £200; what a shame Apple’s aggressive pricing policy doesn’t extend to its MacBooks and iPhones, too… Elsewhere, we discussed the widespread use of laptops at The Big Chill festival (that was on stage - not by middle-class parents emailing their nannies to check that the kids were behaving…

Chris Tedds “For me, it’s putting the final touches and finishing a track. Knowing that I’m almost there and I just need to add or correct a few things is a great feeling.” Oliver Crawshaw “When the ideas start coming quick and fast and you lay the parts down quickly. When you’re on a roll!” Terry Thai “Programming drums! It’s very clear when you have something satisfying and what you need to correct, and adding your own personal recorded Foley or a bunch of random perc hits is an easy way to make the process feel personal and meaningful. Also, I love experimenting with swing and space, trying to craft a di›ferent and catchy snare roll or build for each track!” Angelo Caspers “Being creative is the most fun part…

Just because a 40Hz sine wave is eight metres long, it doesn’t mean a smaller studio won’t be able to hold that frequency; what it does mean, though, is that it won’t necessarily get it quite right. The smaller size of the room will cause build-ups of frequencies that are too low for it to properly support. Different bass frequencies will end up playing at different strengths, causing you to easily misjudge the real weight of the bass notes in your tracks. One way to fight this is with bass traps. These absorbers, placed across a room’s corners, disrupt the build-up of the lowest frequencies, but everything depends on the studio in question. Using a room calibration software and mic package can really shed some light on exactly what’s happening…

When you compress or limit a signal, you trigger volume reduction – but how does volume reduction look when it’s done to a huge, long bass wave? There’s no simple answer, as this will always depend on your signal, your compressor, and its settings; but when a compressor clamps down on a bass wave, the result can be to flatten it out… if only a little bit. When we flatten out a sine wave, it starts looking a bit more like a square wave – and that flattening must, by its very nature, mean that extra harmonics are created; the sine wave is distorted. In the quest for saturation (see Bass on small speakers ), this might be just the effect you were looking for, but if…

MOOG MODEL 15 (£29.99) Moog synthesisers are legendary for their bass sounds, something listeners discovered way back in the cm1960s when ‘Dr Robert’ Moog released his first modular systems. Here, the popular, portable (!) Model cm15 gets the virtual treatment and loses nothing in the process. If you want those big, boisterous Moog bass tones on your tablet, look no further. KORG iMS-20 (£14.99) Korg’s MS-20 was (and is) one of the best bass synths you can get. It’s raw, grimy, and loaded with attitude. In their repro for iPad, Korg offer only one of the most badass semimodular synthesisers ever conceived, but wrap it into an entire electronic music studio, complete with sequencer and drum machine. BEEPSTREET SUNRIZER (£9.99) One of the first iOS synths to make a splash…

“A smoother mix will sound best on vinyl, and that’s been a big inspiration for my mixes and masters” Breaking bad… In a genre where technical proficiency, bass weight and musicality are top of the agenda, Break (real name Charlie Bierman) is widely regarded as one of the premier drum ’n’ bass producers. With over 15 years of releases spanning pretty much every decent label in the scene, his productions and mixdowns consistently raise the bar to heights unachievable by mere mortals. cm readers will be no strangers to Break’s music-making and mixing talents, but this time he’s given us exclusive insight into another subject close to his heart: the art of mastering! So to kick off our triple DnB artist special, we step inside Charlie’s Bristol home studio for an…

KUSH AUDIO HAMMER DSP ($149) Kush Audio’s analogue-modelled plugins are making some big waves right now, and Hammer DSP is no exception. Based upon A-Designs’ über-rare outboard EQ, the Hammer DSP has a powerful yet pristine sound when boosting bass, making it ideal for adding serious warmth and weight to your 808s. SOUNDTOYS SIEQ ($129) If you’re looking to add some serious analogue mojo to your bass, SieQ has you covered. Modelled on a vintage Siemens EQ, SieQ has a low band that makes light work of adding depth and richness to any bass; and there’s a fantastic Drive control for adding gritty, ballsy saturation. UAD PRECISION EQ (£149) Intended primarily for mastering work, Precision EQ is also a winner for making adjustments when mixing bass. The low shelf adds…

In any form of electronic music – and especially in drum ’n’ bass – the bassline is the primary driving force of a track’s low end, providing bottom-end punch, movement and character alongside the kick. So for my first Studio Strategies tutorial, I’ll show you how a carefully-designed distorted bass can be the gritty, groovy backbone of a DnB tune. There are unlimited ways to get started when creating a bassline from scratch. I’m going to go down the obvious route and use a softsynth to create a bass patch, before manipulating the resulting tone with processing. As I want to shape the bass into something unique to this track, I’m going to focus on breaking up the core tone into three frequency layers:…

DYNAMICS Check out this huge collection of processors – from classic compressors to modern digital creations, we’ve got everything you need to shape your signals 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 • AU/VST, 32-/64-bit www.eareckon.com 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 Audiority TS-1 CM • Flavoursome transient shaper • Set attack and sustain gain • Blend control for parallel processing • Based on the full TS-1 plugin • AU/VST, 32-/64-bit www.audiority.com Unfiltered Audio G8 CM • Get tight dynamics or creative FX • Includes advanced gating controls…

100% BASS Read the full article  on p20 Create your baddest bass sounds yet with our comprehensive guide to low-end sound design 1 Bass guitar – recording and mixing basics 2 Stacks of tone 3 Character-building EQ 4 Buzz cut 5 Iconic Minimoog three-oscillator bass 7 Fusion bass with Logic’s Retro Synth 8 Crafting a gritty wavetable bass patch 9 Punchy, powerful 16th-note bass 10 Putting together a gliding, detuned Reese bass 11 A responsive keytracking Reese bass 12 Filtered supersaw Reese bass 13 Six unusual tactics for bass design BREAK Read the full article  on p38 The DnB legend shows us how he masters a track and screens a premaster for potential problems INSIDEINFO Read the full article  on p44 The techie bass wizard gives us a snapshot into…

“In analogue modelling, some parts need to be altered to sound good in the digital domain” Kuassa Arie Ardiansyah cm When you’re modelling an amp, do you observe the components and try to ‘recreate’ them individually, or is it more of a modelling/convolution process? AA “We model our guitar amp algorithms on electronic schemas, but we chop all the processing stages into blocks. This way, we can achieve the best sonic quality possible while keeping the CPU usage low – it’s always a balance between sound quality and processing power. “In analogue modelling, some parts need to be altered to sound good in the digital domain, so we put extra effort into the final tweaks. That’s why we prefer our modelling to be called ‘inspired by’ rather than ‘based on’…

For festival-goers, DJs and soundsystem addicts, the word ‘bass’ conjures up visceral images of euphoric dancefloors, seismic vibrations and screwed-up faces. Yet the exact same word strikes fear into the hearts of most producers and mix engineers, since the low frequencies are both the most important and the toughest elements of a production to get right. It’s not hard to see why bottom-end balance is so tricky to nail. Fans demand an absurd amount of bass in their music these days, and tracks must sound absolutely perfect when played through every type of soundsystem – from the tinniest kitchen radio to the biggest stacks. Furthermore, every track within every subgenre has a different type of bassline, and a particular set of requirements that must be adhered…

So according to theory – and this is backed up by our own experience, too – go any lower than 20.6Hz (E0) and things will start to become inaudible – not only due to the limits of our hearing, but also often due to the physical limitations of the speaker system. What does this mean in practice? Since basslines generally start and end in the key of the track, write a tune in the key of C#, and the lowest C# note you’ll be able to produce is C#1 (34.6Hz). Counterintuitively, if you transpose the whole track up three semitones to the key of E, you can hit that lower E0 note (20.6Hz). Of course, you don’t have to stick to the root note for your…

Harmonics are such a normal thing for our ears to hear that we don’t need every single one of them. A while back, scientists discovered that if you hear a tone with the first, lowest harmonic removed, your brain would imply that it should be there and simply… hear it anyway. Whatever the reason behind this ‘phantom fundamental’ effect, there’s a way to use it to our advantage. Small speakers – like those in phones, laptops and earphones – don’t reproduce low frequencies, but that doesn’t mean that listeners won’t be able to hear ‘bass’ when listening on these devices. If you want to increase the weight of this ‘perceptual bass’, you can raise the levels of the harmonics above it – the ones that small speakers can reproduce. A…

MOOG MINIMOOG The gamechanging classic synth is still a perfect choice for many a producer’s low end Use in music Gary Wright drew heavily upon the Minimoog’s bottom end for his classic The Dream Weaver LP – including the familiar title cut. The late, great Bernie Worrell used three Minimoogs to fashion the iconic bass riffage that opens Parliament’s 1978 hit Flashlight. Similarly, David Frank of The System lashed a pair of them to an Oberheim DSX sequencer on Phil Collins’ Sussudio in 1985. Moog’s aforementioned dedicated bass synth, the Taurus, was much loved by Progressive players, including Geddy Lee of Rush and Mike Rutherford of Genesis, to name but two. How it works The Minimoog was the anvil upon which modern synth design was forged, though few that followed have…

There’ll always be a place for the bass sounds of yesteryear, but as technology advances, so do new sounds and styles. Technology often dictates the bass sounds of the time: the TB-303 and DX7 bass being classic examples. So as technology moves on, the sounds move with it… The massive power we have in our workstations allows for complex, newer methods of synthesis such as granular, and breathes life back into older techniques like wavetable synthesis. The latter can produce some highly aggressive, unusual and distinctly digital sounds which bring some much-desired bite to a bass patch. Essentially, a wavetable is a series of single-cycle waveforms which the synthesiser scrolls through to create a tone. As this happens in the digital world, we can use extremely complex waveforms and alter…

Inside the ride “I know a lot of these video sessions are about breaking down entire tracks piece-by-piece,” DnB DJ/producer Paul Bondy explains, “but for me, making music isn’t about copying other producers’ kick-layering techniques, or replicating their fiddly EQ settings. That’s why I want to do something a bit different in this video…” When Computer Music stepped into InsideInfo’s cave-like studio, located just outside London, it became clear he’s a producer who prioritises creativity: from the collection of choice outboard within easy reach of the driving seat, to the field recorder sat dead-centre of the desk, to the four – yes, four! – monitor screens, each placing a key piece of software only a mouse move away. This is no real surprise to us, as anyone familiar with Paul’s…

Mixed In Key The excellent sample organiser and key detector is a valuable tool for The Vanguard Project. Banger Time is in F minor, making it 4A in Mixed In Key’s harmonic mixing system. www.mixedinkey.com Access Virus C Drew’s outboard synth is responsible for the chords in the track’s breakdown, and some of the bass sound, too. It receives MIDI from Logic and its audio is piped back into the DAW. www.virus.info u-he Hive Drew’s “wicked little synth” provided the basis of the track’s bassline, and the inspirational patch that got it started. Synths like this are called up early in the trackwriting process. www.u-he.com Soundtoys Tremolator “That’s one of our weapons of choice,” says Steve. “We use this for loads and loads of stuff – vocal effects, basslines… Any…

FORGET THE FILTER If your sub bass isn’t hitting hard enough, try removing any high-pass filtering. As most sub basses are synthesised from a pure sine wave, a filter is often unnecessary; and even with a gentle 20Hz roll-off, the filter curve will also affect the frequencies directly above the cutoff point, giving a more hollow sound. Try using a low EQ shelf to tame subs instead. ADDING PRESENCE Struggling to get the detail in a bass guitar recording to shine through a busy mix? Why not try adding a healthy slug of characterful EQ at around 1kHz? This’ll bring out the upper harmonics and help the listener’s ear decipher the bass more clearly. To accentuate the effect, try taking some broad 1-2dB EQ cuts at about 1kHz out of…

REFERENCE YOUR RHYTHMS To ensure your composite bass sound works in the context of your entire track, you should constantly monitor the interaction between your midrange bass layers and drums, as this relationship defines your overall groove. Solo each track with your bass to see where things lie, making sure that low frequencies and other rhythms don’t block the groove’s ‘conversation’, or clash with your sub elements in the mix. Speaking of frequency conflicts, apply EQ or filters with one eye on a spectrum analyser, so you can inspect your low-end interactions. When producing bass-heavy genres such as drum ’n’ bass, I like to keep the kick, breaks and percussive elements away from the sub bass range at all times, by removing anything uneccesary below 100Hz. This ensures a smooth,…

ISSUE 248 Autumn 2017 • Sound Design Inspiration: get the sounds in your head out into the DAW • FREE modulation plugin • Rhythmic Synthesis • Spaced-out sound design • Secret Cinema studio vid ISSUE 247 October 2017 • The Art of Remixing: the skills you need to interpret tracks in your own way • FREE granular effect plugin • Studio monitors guide • Create a plugin with HISE • Goldie interview ISSUE 246 September 2017 • Learn the music theory behind 13 different genres • FREE Reverb worth $49 • Practical Psychoacoustics • Reaktor Synth Sessions • Alex Ross in-studio video • Joe Goddard interview ISSUE 245 August 2017 • Mixing with Abbey Road: studio video and tour • FREE plugin chainer • Beatles mixing techniques • OC &…

The Plugins collection is a suite of complete, limitation-free instrument and effects plugins. It’s an incredible resource, boasting more than 75 pro-quality plugins that you won’t find anywhere else, all for PC and Mac, in VST and AU formats. All of the included software is created exclusively for us by respected commercial developers such as D16 Group, u-he, AudioRealism, Ohm Force, KV331 Audio, Cableguys, XILS-lab, AudioThing, Vengeance-Sound, Rob Papen, zplane and more. FREQUENTLY ASKED QUESTIONS Enough talking! Where do I get these plugins? You can grab them all on the cover DVD with out print edition, or as a download from FileSilo (see p5 for instructions on how to access). How do I install Plugins? It depends on the plugin. Some have dedicated installers, while others just drop into your…