Page 1

RECORD • PRODUCE • PERFORM

INTERVIEW

ECTOMORPH THE DETROIT DUO’S LIVE MODULAR RIG REVEALED

WORKING

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

REVIEWS

MASTERCLASS: ABLETON LIVE SYNTH SECRETS

STEINBERG CUBASE PRO 10

WAVES ABBEY ROAD TG MASTERING CHAIN

AUDIAIRE ZONE

FABFILTER PRO-Q 3

More!


Editor’s Note

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

APRIL 2019

www.emusician.com FOLLOW US twitter.com/EM_Magazine facebook.com/ElectronicMusicianMagazine instagram.com/electronicmusicianmag CONTENT Editor Joe Rossitter joe.rossitter@futurenet.com Group Editor-In-Chief, Music Daniel Griffiths daniel.griffiths@futurenet.com Production Editor Alice Pattillo alice.pattillo@futurenet.com Art Editor Steve Dawson steve.dawson@futurenet.com Editor keyboardmag.com Jon Regen kbwebeditor@gmail.com 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 luke.edson@futurenet.com Advertising Director Jonathan Brudner jonathan.brudner@futurenet.com Advertising Director Mari Deetz mari.deetz@futurenet.com Advertising Director Jason Perl jason.perl@futurenet.com Advertising Director Scott Sciacca scott.sciacca@futurenet.com MANAGEMENT Chief Content Officer Aaron Asadi Commercial Finance Director Dan Jotcham REPRINTS AND PERMISSIONS

For article reprints please contact our reprint coordinator at Wright’s Reprints: 877.652.5295 Please direct all subscription orders, inquiries, and address changes to: 888.266.5828, outside the US 978.667.0364, emmag@ computerfulfillment.com Back Issues are available for $10 each at 800.289.9919, 978.667.0364, emmag@computerfulfillment.com

6

A P R I L

20 19

|

E MU S IC IAN . C O M


17

M A G A Z I N E

GEAR

36

STEINBERG Cubase Pro 10

40

DEPARTMENTS

CONTENTS 04.19

30

8

WAVES Abbey Road TG Mastering Chain

HOW TO Keyboard Soloing – Eric Clapton

32

MUSIC THEORY Secondary Dominants

34

CLASSIC GEAR Sequential Circuits Prophet-5

42

AKAI PROFESSIONAL Fire

WORKING TO PICTURE 24

52

44

AUDIAIRE Zone

46

FABFILTER Pro-Q 3

52 11

ECTOMORPH

NEW GEAR Products from Arturia, Propellerhead, Bitwig and more

HOW TO

56

TECHNIQUES Bitcrushers and Digital Lo-fi

66

FIVE QUESTIONS with Kristine Leschper of Mothers A P R I L

20 19

|

ABLETON SYNTH SECRETS

60

ROUND-UP All-In-One Effects Racks

48

MODE MACHINES SEQ12

64

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.

NEW GEAR

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

Effects

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

Emulations

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

201 9

|

EMU SICIAN .COM

11


9000

Complex-1 brings the freedom of modular synthesis to the Reason rack

Propellerhead Complex-1

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

propellerheads.com

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

u-he.com

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.

ikmultimedia.com

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.

numericalaudio.com

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

12

App Watch

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.

steinberg.net

Profile for Future PLC

Electronic Musician 412 (Sampler)  

You can subscribe to this magazine @ www.myfavouritemagazines.co.uk

Electronic Musician 412 (Sampler)  

You can subscribe to this magazine @ www.myfavouritemagazines.co.uk