With the world still being pretty chaotic out there (at least at the time of writing) we’re hoping that a) you’re safe and b) you might just have a bit more time on your hands to make some music. We know that that’s where our focus is anyway, so we’ve decided to do what we do best and create a (massive!) feature to help you get some music made in these quite extraordinary times, and in whatever circumstances you find yourself in.
So we’ve pulled the stops out in this issue of Computer Music to bring you some of the best techniques we’ve ever assembled, all under one roof, to help you create a piece of music from start to finish. We also provide some advice on how to help you to get it out there once it’s complete, not to mention some top tips on looking after the gear you use to create it.
We’ve gone from the start of the music making process, right through to the end, beginning with some classic techniques to use with your softsynths and beats – some of which were first unleashed back in issue 200, but which are as impressive and relevant as ever.
Then there’s an all-new section on recording instruments into your DAW, where we’ve distilled advice from many expert writers into some 40-odd tips on recording vocals, guitars, instruments and more. The art of recording ‘real’ sounds like these can be a dark one, but you can actually master the most essential aspects of it with this practical, hands-on advice.
Diese Geschichte stammt aus der July 2020-Ausgabe von Computer Music.
Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.
Bereits Abonnent ? Anmelden
Diese Geschichte stammt aus der July 2020-Ausgabe von Computer Music.
Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.
Bereits Abonnent? Anmelden
BLEASS Arpeggiator
Classic synth-based arpeggiators' up-down patterns can be tedious, says Stuart Adams. Can Arpeggiator bring the variability he craves?
Synthogy Ivory 3 German D
One of the most highly regarded piano libraries around gets an update. Does it strike a chord with our reviewer, Herr Roland Schmidt?
MODALICS BITFUZZER
Distortion can be a great effect for enlivening and mashing up sounds, and this month we've got you a plugin that can do both
RADICAL RHYTHMS
From pepping up basic grooves to creating full-on 4/4-flouting madness, learn a multitude of timing tricks with our classic guide
SEDIBUS
Detaching from The Orb mothership, Sedibus is the latest project of core figurehead Alex Paterson, accompanied by former Orb-member and key creative collaborator Andy Falconer. With a studio shorthand and a shared passion for flourishing ambient textures, the pair's second record SETI gazes skyward for its inspiration. We spoke to Andy to learn more...
Sidechain compression
Sidechain compression is an excellent mixing tool and in this tutorial we pick apart this essential process
How to make a rave-style techno track
Prepare to get fists in the air as we learn the tools, tricks and tempos for nailing the basics of rave-ready techno
Make a filter kick bass with BazilleCM
Following our deep-dive into the oscillator section of BazilleCM, we follow the signal flow to create a filter-thumping bass sound
MARIA W HORN
An avid explorer of sound's spectral properties, Maria W Horn's work realises the potential of long-forgotten spaces. Via instrumental textures, room responses, the human voice and a specialised computer language, she synthesises entirely new sonics. We heard more about her processes and the at-times chilling story behind her affecting new album, Panoptikon
THE ULTIMATE GUIDE TO CREATIVE REVERB
Reverb has been relied on for its evocative sonic character ever since the first homo sapien warbled expletives into a dark cave. The transformative power of space is still a vital mix ingredient