RECORD • PRODUCE • PERFORM
ECTOMORPH THE DETROIT DUO’S LIVE MODULAR RIG REVEALED
Easy Guide Secondary Dominants
TO PICTURE WRITE MUSIC FOR THE SILVER SCREEN AND BREAK INTO PRO SOUNDTRACKING
Synth Solos Clapton Style
Synth Classic Prophet-5
MASTERCLASS: ABLETON LIVE SYNTH SECRETS
STEINBERG CUBASE PRO 10
WAVES ABBEY ROAD TG MASTERING CHAIN
FABFILTER PRO-Q 3
Lights, camera, action! Creating music is a satisfyingly self-indulgent artform. With the affordable instruments and technology available to us, we can write and compose anything we like, free of constraints and the opinions of others. However, this cathartic form of expression comes at a price: with streaming revenues and music sales paying out less and less, and it’s clearly becoming increasingly harder for the average artist to make a living from music production. And we all need to pay the bills, right? This is why musicians are seeking out more financially rewarding revenue streams, and one of the most lucrative avenues is composition for television, movies, advertisements, and stage performances. This particular world demands a unique set of skills, which is why the transition from straight-up music maker to commissioned composer is one that most producers
struggle with. Your music must convey the appropriate emotional response in line with what’s on screen, and you’ll almost definitely have to make alterations at the whim of others, and sometimes have to do so at the eleventh hour. Plus, with the sheer amount of JOE ROSSITTER competition in this field, your motives EDITOR must extend beyond monetary gains – dedication and passion are absolutely essential. Expect long hours, late nights, and an exhausting amount of dedication to this specific craft. Thankfully, we’re here to help smooth over this transition with an extensive cover feature outlining everything you need to know about scoring for picture. From technical considerations and templating your workflow through to creating top-notch demos for directors, we’ll bring you the info that’ll help your studio efforts light up the screen, big or small.
Vol. 34 No. 4
www.emusician.com FOLLOW US twitter.com/EM_Magazine facebook.com/ElectronicMusicianMagazine instagram.com/electronicmusicianmag CONTENT Editor Joe Rossitter firstname.lastname@example.org Group Editor-In-Chief, Music Daniel Griffiths email@example.com Production Editor Alice Pattillo firstname.lastname@example.org Art Editor Steve Dawson email@example.com Editor keyboardmag.com Jon Regen firstname.lastname@example.org Moderator, The Keyboard Corner David Bryce Editors at Large: Geary Yelton, Mike Levine, Francis Preve, James Russell Contributors: Barbara Schultz, Dave Clews, Francis Preve, Jerry Kovarsky, Leo Maymind, Michael Ross, Si Truss, Michael Ross, Ronan Macdonald, Scot Solida, Jono Buchanan, Bruce Aisher FUTURE MUSIC GROUP BUSINESS Chief Revenue Officer Luke Edson email@example.com Advertising Director Jonathan Brudner firstname.lastname@example.org Advertising Director Mari Deetz email@example.com Advertising Director Jason Perl firstname.lastname@example.org Advertising Director Scott Sciacca email@example.com MANAGEMENT Chief Content Officer Aaron Asadi Commercial Finance Director Dan Jotcham REPRINTS AND PERMISSIONS
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A P R I L
E MU S IC IAN . C O M
M A G A Z I N E
STEINBERG Cubase Pro 10
WAVES Abbey Road TG Mastering Chain
HOW TO Keyboard Soloing – Eric Clapton
MUSIC THEORY Secondary Dominants
CLASSIC GEAR Sequential Circuits Prophet-5
AKAI PROFESSIONAL Fire
WORKING TO PICTURE 24
FABFILTER Pro-Q 3
NEW GEAR Products from Arturia, Propellerhead, Bitwig and more
TECHNIQUES Bitcrushers and Digital Lo-fi
FIVE QUESTIONS with Kristine Leschper of Mothers A P R I L
ABLETON SYNTH SECRETS
ROUND-UP All-In-One Effects Racks
MODE MACHINES SEQ12
ELECTRONIC GUITAR Plugin modulation with Ableton Live clips
Electronic Musician (ISSN 0884-4720) is published monthly by Future PLC, 28 East 28th Street, 12th floor, New York, NY 10016. Periodicals Postage Paid at New York, NY, and at additional mailing offices. Canada Post: Publications Mail Agreement #40612608. Canada Returns to be sent to Bleuchip International, P.O. Box 25542, London, ON N6C 6B2. POSTMASTER: Send address changes to Electronic Musician, P.O. Box 232, Lowell, MA 01853. Electronic Musician is a trademark of Future PLC. All material published in Electronic Musician is copyrighted (©) 2018 by Future PlC All rights reserved. Reproduction of material appearing in Electronic Musician is prohibited without written permission. Publisher assumes no responsibility for return of unsolicited manuscripts, photos, or artwork. All product information is subject to change; publisher assumes no responsibility for such changes. All listed model numbers and product names are manufacturers’ registered trademarks.
E MU S IC IAN . C O M
these make Pigments a surprisingly adept emulation machine. Given that there are two filter slots on offer though, there’s lots of fun to be had by combining filter types for vintage-meets-modern effects.
Modulation Arturia really haven’t skimped on the modulation options here. They promise that users can ‘modulate anything by anything’ and that’s a pretty accurate statement. In terms of sources, we get the expected LFOs and envelopes, but there’s also excellent controllable randomization tools, a customizable Function generator and a Combinator tab, which allows for interesting and complex routings to be put
HANDS-ON WITH PIGMENTS
together. The highlight on the modulation front, however, is simply how well the UI keeps track of routings, with a clear, color-coded display along the centre of the UI making it easy to see what’s going on, even with particularly complex patches.
Before their analog Brute range was ever released
classic synth samples, real-world instruments and
into the wild, French brand Arturia made their name
esoteric sounds all covered. Users can upload their
There’s plenty of processing power here. Pigments
in the realm of software synthesis. With their ever
own wavetables as well, to expand the sound set. The
has three effects sections each with three slots. Two
growing — and still excellent — V Collection range,
wavetable engine is equipped for an assortment of
of these sections are inserts which can be arranged in
Arturia have turned in emulations of many of the
modulation synthesis techniques too, with both
series, parallel or in reverse series, and the third
most famous electronic instruments of all time,
linear and exponential FM on offer, as well as phase
section is a send/return.
including the Minimoog Model D, Oberheim Matrix
modulation, phase distortion and wavefolding.
12, ARP 2600 and tons more.
Arturia have paired Pigments’ wavetable engine
The slots in all of these effects sections can be filled with any one of 13 effect types, which range
with a three-oscillator virtual analog. As you’d expect,
from compression, EQ and another multimode filter
their hands: Pigments, a fully-featured softsynth that
given their history of emulations, this sounds great,
to reverb and delay, distortion, bitcrushing and
(at least for the most part) isn’t an emulation of
and pairing the two elements together gives Pigments
wavefolding. All effects can be modulated too, for a
something that’s come before. With a multi-part
its unique character. There are two synth slots and
bit of extra depth and movement.
synth engine, sequencer and lots of creative tools,
the two engine types can be used in any combination
there’s a lot going on in this latest synth powerhouse.
— be it dual wavetable or dual analog or a
Going into 2019, Arturia have something new on
combination of the two. Sequencer Beyond its synth and effect sections, Pigments also packs a sequencer and arpeggiator with a lot of Wavetables
power. Both offer all the tools you’d expect plus extra
Wavetable synths are everywhere these days — from
While Pigments is an original instrument, there are
creative tricks. The sequencer is polyphonic, with a
plugins like Serum to hardware instruments such as
still a few elements of vintage emulation onboard. As
velocity track and scale mode. There’s a flexible
the Polyend-powered Medusa, and even in the stock
mentioned above, the wavetable selection includes
randomization system too though, allowing users to
tools of DAWs such as Live and Logic. Guess what?
oscillator samples from several vintage instruments
generate random patterns and set steps that work on
Pigments is another addition to the wavetable party.
and the virtual analog engine does a good job of
a probability basis. It has a polyrhythmic mode too,
impersonating classic subtractive instruments (it’s
which is great for exploring creative timing ideas. It
not hard to get Model D-like sounds out of it).
uses its functions in a way similar to some of the best
In many ways, Pigments’ wavetable capabilities are pretty similar to its powersynth plugin rivals, but
creative tools in Max For Live.
there’s plenty of depth here, coupled with sleek
The analog-influence carries over to the filter
implementation. Naturally, users can modulate
section too though, where — along with multimode,
wavetable position and there’s an impressive set of
comb, notch and formant options — we also get
timing options, with a broad swing range that allows
tools on offer to do so. Pigments has a neat Morph
access to the three emulations from Arturia’s
for some heavily grooved synth lines. Both the arp
mode too, which affects how smooth or abrupt
excellent ‘3 filters you’ll actually use’ pack from last
and sequencer can be modulated too, which open up
changes between wavetable positions are.
year. These mimic SEM, Matrix 12 and Moog Ladder
some great creative possibilities once they’re coupled
filter designs. Combined with the right oscillators,
with the Function section or LFOs.
There’s an excellent stock of wavetables too, with
The arp, meanwhile, has multiple modes and
A P RIL
EMU SICIAN .COM
Complex-1 brings the freedom of modular synthesis to the Reason rack
nonetheless, including Buchla- and Moog-
Described by Propellerhead as “one of the most
inspired oscillators, a ladder-style filter, two
ambitious synths [they’ve] ever made”,
low-pass gates, a wave shaper, Reverb/Echo
Complex-1 is a modular synthesis system for the
and Function modules, a built-in sequencer and
Swedish developer’s Reason DAW that brings
much more. Audio and modulation signal
“the quirks, freedom and sonic depth of modular
routing is done using virtual patch cables
synthesis to your Reason Rack”.
(natch), and Propellerhead claim that
With all of its modules fixed in place, rather
Complex-1 is just as comfortable blasting out
than added as required, Complex-1 doesn’t
phat basslines as it is laying on glitchy
appear to give totally free reign in ‘construction’
soundscapes. Priced at $99.
terms, but there’s plenty to work with
u-he Twangström The second plugin effect to be spun out of u-he’s Bazille synth — the first being the Colour Copy bucket brigade delay, born of the Lyrebird module — Twangström sees said instrument’s Spring Reverb widget developed into a “flexible spring-reverb and Tone controls for distortion and coloration; a
box-of-tricks” in its own right. Featuring three physically modeled reverberation
multimode filter with Blend control for morphing
tanks “inspired by the most used ones built in the
between low-pass, high-pass and notch types; an
guitar and instrument amps that made rock ’n’ roll”,
envelope follower with four triggering modes and
Twangström aims to bring that authentic vintage
an LFO-style cycling option; and an actual LFO.
spring sound to your DAW projects with the
Twangström is available now for both Mac and
expected modern enhancements. As well as the
PC, priced at $69.
spring and tank modeling at its core, it includes Drive
IK Multimedia SampleTank 4
ridiculous 250GB — 200GB of it fresh content — which equates to 8000 sounds. Then there are
one of its biggest updates yet.
four new Player sections to help you with groove creation — Arpeggiator, Strummer, Phraser and Loop Manager — as well as 13 added effects (bringing the total to an impressive 70), a dedicated interface for setting up layers and splits, and a comprehensive new mixer. IK Multimedia SampleTank 4 is available for preorder, priced from $100 to $300. Prices will rise upon its release sometime this Spring.
ikmultimedia.com 20 19
E MU S IC IAN . C O M
iKlip Stands the Test of Time IK Multimedia has introduced its third-generation range of iKlip devices, giving you even more flexible options when it comes to mounting your smartphone or tablet. There are three models, including the standard iKlip 3 ($49.99), offering more durable rubber pads and a spring mechanism that enables you to rotate your device; the iKlip 3 Video ($49.99), which enables you to mount your device to a camera tripod; and the iKlip 3 Deluxe ($69.99), which enables both mic stand and tripod mounting.
Numerical Audio RM-1 Numerical Audio’s RM-1 is billed as a Wave Modulator, and features not only two flavors of ring modulation — a virtual analog model and an all-digital design — but also frequency modulation, phase modulation and amplitude modulation. That’s a lot of distinct modulation options (five to be precise) while a multimode filter, LFO and envelope follower make things even more interesting. RM-1 runs on iPad and will cost you $5.99.
For starters, the all-important sample library of
incarnation of IK’s venerable ROMpler looks to be
A P R I L
The latest developments in phone and tablet music making
the flagship MAX version now weighs in at a
Redesigned from the ground up (again), the fourth
Cubasis 2.7 Believe it or not, Steinberg’s Cubasis — the popular iPad DAW — has now been with us for six years, and that milestone coincided with the release of the version 2.7 update. Most significantly, this adds native support for the iPad Pro 11" and 12.9", but there’s also a new arpeggiator for the Micrologue synth (available as an in-app purchase) and the option to use up to three AU MIDI plugins per track.
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