Wsm - October 2006 - Issue 006

Sound Magazine www.Wusik.com

October 2006 #006

NewAge Collection Volume 3 GM Set Volume 2 Korg MS 20 Creating Dirty SID Chip

and much more...

Letter from the Editor Welcome back, nice to see you here once again. Did you notice anything? Yeah, we know, there are new people in the house.

We are very happy to present you with a new, fuller issue, with extra articles and columns.

Also, ArtVera is back with yet another New Age Collection volume, the third in the series. I must say, this is her best work so far, and I mean that -- 70 extra presets, categorized and ready to be used! Although the collection reads "NewAge," it can be used for other electronic styles.

Our GM set continues with the second volume. The next issue we close it out with the final volume, plus two GM drum sets: regular and brushed.

Now that disk-streaming has finally been released, you can expect the first gigabyte collection of instruments pretty soon; maybe one segment per magazine issue, to keep things easy to download

Finally, new subscribers/purchasers to Wusik Sound Magazine, will receive a free Wusikstaton Player. If they register the Player, ($ 29.95 USD) its restrictions will be removed and they will have a fully functional Wusikstation V3. The only difference is that a large library of sounds comes with the purchase of Wusikstation V3 but it is not included with registration of the Player alone.

Sound Magazine Editorial: Magazine Layout: MoniKe Editors: WilliamK and MoniKe

WilliamK: Getting Started, Synth Romance, Ask WilliamK, What's New, The Voices, Tips and Tricks and Creating Sounds www.william-k.com

Dilom - aka DamBros: Fishing for Lightning in Brain Storms

Antonio Grazioli - aka Autodafe: The Retro Synth Corner and Korg MS 20 Sounds www.autodafe.net

Jeremy Janzen: Ugo Ironhead VST Drumsynth Review www.nucleus-soundlab.com

Peter 'Ray' Savage - aka Funkychickendance: The Compulsive Tire-Kicker 2

Bruce David: From Acoustic to E-Music

Roy Queenan @ Redshift Audio: Mastering Tips, The Electronic Underground and What's On Your Amp www.redshiftaudio.com

Dan Worrall - aka IIRs: The Making Of the Solomon Set Part II www.myspace.com/iirs

Mike Felker - aka Karmacomposer: DVD Distribution www.mfelkerco.com

Art Vera: Sounds: NewAge Collection Volume Three www.artvera-music.com

Rick Christy - aka grymmjack: Sounds - GM Volume Two www.designermonkey.us

WilliamK and MoniKe

Maxx Claster: Sounds - Drum Loops www.maxxclaster.com

Proof-Reading: Bruce David and other users

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Wusik Sound Magazine

#006 - October 2006

In This Issue: The Retro Synth Corner

08 From Acoustic to E-Music

12

Getting Started Low Budget Sequencers With VST Support

04

Fishing for Lightning in Brain Storms

06

Mastering Tips Enhancing the feel of sequenced drum tracks

18

The Electronic Underground

36 38

Creating Sounds Dirty SID Chip Sounds

The Compulsive Tire-Kicker

22 The Making Of the Solomon Set

28 And More...

Tips and Tricks..............................................16

Ugo Ironhead Review

Ask WilliamK.................................................17

33

The Voices....................................................20

What's New...................................................17 Synth Romance.............................................26 What's On Your Amp......................................27 Sound List....................................................40 Wusik Sound Magazine

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by WilliamK

Low Budget Sequencers With VST Support For those starting on the VST world, but still don't have a good sequencer Cakewalk Music Creator 3 Boxed: $ 39.00 USD Download: $ 29.00 USD VST/VSTi and DX/DXi Support Includes basic synth and effects www.cakewalk.com/Products/MusicCreator/

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Wusik Sound Magazine

This is a very good option for the starting musician.

Together with the Wusik Sound Magazine and the Wusikstation V3 Player that comes with it, you have a total solution. The included effects are very good, and they also include some basic synths and the Edirol Virtual Canvas GM VSTi. Plus: Acid WAV Loop files, audio tracks and MIDI tracks. All this is in one bundled solution. They offer a "pro" version too, but with a much higher price-tag. Music Creator 3 is the best "bang-for-the-buck" you can find.

MAGIX Music Maker Deluxe 11 Boxed: $ 59.99 USD Download: $ 34.99 USD VST/VSTi and DX/DXi Support Includes basic synth and effects, the Boxed version comes with extras. www.site.magix.net/englishus/home/music/music-maker-11-deluxe/

The MAGIX solution can be a bit more complicated compared to Cakewalk Music Creator. But still, the boxed version comes with many more extra advanced features. If you are going for the so called "eVersion" (download only), be sure to read what restrictions apply: no PDF manual, no tutorials, content-CDs not included, no Mastering Suite, no 5.1 Surround Sound, no Elastic Audio Easy, no MAGIX Livid, no SampleTank 2 MX, only 15 effects, (25 on boxed version) only 9 virtual instruments, and no CD /DVD burning. For those who hate the PACE protection dongle, DON'T PANIC, the iPACE they refer to is something else, not even closely related. All in all, this program is also a very good value for your money.

Wusik Sound Magazine

5

Fishing

by DamBros

in

Lightning Brain Storms for

T

he musical idea of this article came from an email that I got from my dear nephew and niece, editors of Wusic Sound Magazine.

An email that talks about the birth, growth and impact of a river as it meets with the unknown, as well as the comparison of between these events with the development stages of each of us human creatures.

T

he first musical impressions should talk about the water springs and we could call them The Sources. Here the sonority is a very soft tinkling, murmuring, soughing. With your ear very close to the ground, it is possible to notice these sounds from the water sprouting in the midst of the mountains, as a result of rubbing the surface of rocks, plants, along the curves it must make, to jump over or go around obstacles that hinder its path. It’s like the soft breathing of newborn children, still stunned with so many colors, odors and movements that surround them.

T

he movement is soft, high pitched, but full of little frights, surprises and happiness.

T

hen the springs meet and the creek is a big child whose curiosity is stimulated and who wishes to know new things... little fear, lots of courage.

We could call this movement the Eye-Opener. Now the theme suggests dissonant notes between deep accents and sudden high pitched notes: courage versus doubt. The flow is faster, its runs toward the plains, but it needs to pass through the rapids, waterfalls and forests. The rhythm follows the growing speed, showing the experience of the creek until it is transformed into a great river below. The ending is presented in tones of serenity, satisfaction and accomplishment.

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Fishing in

Lightning Brain Storms for

T

he third moment is mature, reflecting the security of the river in flowing along its undisputed riverbed. It is what could be called The Explorer. Now without the fears of the first stages, the river flows, majestically, while it examines its margins – its domains – with a still curious, but critical, eye. The theme suggests a very happy and festive march.

The river dialogues with the fish and other animals that dive in its waters. It maintains itself quiet and retracted as it meets with the humans, because they are incomprehensible most of the time. It passes by cities and ports, meets with other friendly rivers. It sometimes invites them, sometimes is invited, to join the ones that come and together flow until a note of horror takes them over. It is a real frightful time. he forth movement opens with a view of something utterly unknown for the river: an immeasurable water mass.

Without boundries, without a visible beginning and end. It is the birds and some fish that bring the news, but don’t clarify the mystery. I would call this final movement The True Wisdom. hy? We will see. In face of the magnitude that approaches, and without strength to move away from the problem, the river does not agitate in awful convulsions as to anticipate its agony. All is lost. It’s not possible to fight against this giant. The sounds talk about this despair until the exact moment in which the water of the river meets with the water of the seas. There is a silent moment. Then afterward, the perception comes slowly that nothing happened to the river except that the river, who thought it was big, is now enormous -- and it is no longer called a river, but an OCEAN.

T

W

Wusik Sound Magazine

7

Retro Synth KORG MS-20

T

Corner

The

he Korg MS-20 is certainly one of the world’s most sought after synths. It

by Autodafe appeared in 1978 and was suddenly one of Korg's most successful machines, being the big brother of the MS-10 and taking the Korg MS-Series further. The MS Series (which includes the MS-50, the VC-10 Vocoder, and the SQ-10 sequencer, as well as a couple of external interface modules and a bunch of pedals) still incorporated some of the patching capabilities of early modular synthesizers, in a "pre-patched" (or semi-modular) form, allowing for easy "tweakability." These products are still coveted by "techno" and dance artists today. Let’s try to understand why…

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The

Tech Talk

T

he MS-20 is an monophonic analog synthesizer, featuring two oscillators, one with variable pulse width and one with ring modulation, two resonant VCF filters, two EG's, one MG, one VCA, sample and hold, a noise generator, a separate VCA , a trigger button, and an assignable mod-wheel. And don’t forget lots of knobs to tweak and jack connectors too! They are cleverly placed on the left and right side of the front panel. The VCO's are quite standard. VCO 1 has the usual choice of waveforms, with pulse modulation and noise, while VCO 2 adds ring modulation. They both have the usual footage controls. The VCF filter section provides a high-pass/low-pass filters combination which is quite unique and different from the usual single low-pass style (or variable state) filter. The original MS-20 included two filters: a 12dB low-pass and a 6dB high-pass filter connected in series. The filters can also be routed to incoming external signals, making it a very good solution for processing samples and beats. The filters are probably the most remarkable peculiarity of this instrument, which mainly contributes to its tonal character. Both filters have resonance and they can be modulated with almost anything on the patch panel, making them a unique sound creation tool. There were a couple of Korg Pedals (MS-01,

MS-04) particularly aimed at this.Another remarkable feature of the MS-20 is the jack panel on the right of the instrument. Using patch cords you can route different signals into its inputs, thus permitting generation of complex sounds. You can, for example, connect external CV controls to filters, or assign the Wheel to any of the inputs. The MS-20 also features a pitch-CV converter for triggering sounds from external sources. You can try seeding the input stage of the MS-20 with drum loops, a guitar, or your voice, for example. Its keys have a "plastic" feel, but that was more or less the average quality in these days: cheap keys but lots of expensive components on the inside. The case is made of metal, and its solidly built. The sides of the cabinet are also made of plastic, and are a bit weak.

The unit is not very heavy, making it the first portable instrument of that era (a case would be recommended, though).

Corner

Retro Synth

N

eedles to say, It has no MIDI. But it has lots of CV inputs to control almost every parameter of the synth. The MS-20 Uses the Hz/Volt implementation of CV/gate controls, used mostly on Korg's and Yamaha's products, while the most common is the Volt/Octave. Not every modern MIDI/CV converter supports it. Be aware of that if you are planning to connect one.

Lots of clones

B

eing so popular also means having lot of clones. The synth itself had many competitors in its day, and some imitators. The MS-20 filters have been reproduced in many forms.

In the current hardware reign see, for example, Doepfer and MOTM Modules, which reproduce the behavior of MS-20 filters. In the software world many attempts to reproduce its sounds have been made. Almost any of today’s Samplers/Romplers contain samples or waveforms taken from the MS20. Wusikstation is no exception to this. Someone maybe also remembers the GROK 02SM (the name says it all) which was a Synthedit clone of our "hero" (now removed after Korg, who owns the rights to the MS-20 name, came out in 2004 with their own clone, in the form of the Korg Legacy Collection). This is basically a set of plugin's, one of which reproduces the MS-20 quite faithfully, with even the aid of a dedicated "retro-looking," reduced-size MIDI controller.

T

here’s a free downloadable demo on Korg’s site -- check it out. Interesting patches can be had by creating combinations of the MS-20 with other synths in the same collection... still, not the original…

Wusik Sound Magazine

9

The

Retro Synth

Corner

Sounds

A

s for its sounds, the MS-20 sounds wonderful! The MS-20 is great for almost any kind of analog synth sounds you could want! Fat basses, aggressive leads, percussive basses or sounds, noise effects, wobbles, squirts, analog farts and so on. It has a lot of punch!

Of course one should not rely on the patches shown in the manual to demonstrate the capabilities of the synth. These are mostly poor imitations of real instruments, that never sound as accurate as the original, or at least, they were the most accurate available almost 30 years ago. The MS-20 is not only a great instrument, but also a great learning synth. It’s very easy to operate, yet you can build some complex patches with patch cables, making it a good tool for an approach to modular synths and signal flow paths. I saw one on the net which had been "keyboard amputated" and used in a school.

I would recommend the manual (which can be found online) as good and easy reading on the basics of synth design. Its sounds have been used, and can probably be recognized in many tracks. I’m pretty sure any one of us certainly has at least 10 CD's in his collection in which the MS-20 was used. One of the most "MS-20 trademarked" tracks is probably Mr. Oizo’s Flat Beat, the (in)famous Levi’s commercial, which features that obsessive, hypnotic bass sound. Other users are Add N to X, Aphex Twin, William Orbit, Vince Clark, and Coldcut, who have been reported using the MS-20...and I am confident that this list could go on for pages, so I had better stop it here…

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Finding a used MS-20

T

he MS-20 is still quite rare to find in good shape and, let me add, at a good price. Prices have been going up in the last years. I’ve seen units here and there going for an average 800-1000 USD and above (some units on Ebay reached the 1500). I was lucky enough to find my Korg MS-20, together with the MS-50 and SQ-10 for less than 2000 Euros (Gasp!) An used unit should be checked quite carefully, as some of its old components are almost impossible to replace nowadays.

Conclusion

J

ust let me add another couple of words: modern classic.

In the sounds section You will find some WusikStation presets sampled form the Korg Ms-20. Some of the sounds are layered, no effects or unison have been used. Start experimenting.

Visit www.viraloutbreak.net For tons of demo mp3s and to Purchase!

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Nucleus SoundLab brings the TI sound to your * Nearly 750 Wusikstation v3 presets, sampler! many taking advantage of all the new v3 Viral Outbreak Volume One is available now features! (450 presets for Wusik v1) for Wusikstation v1/v2/v3, SFZ, and Kontakt 1/2. * The best preset designers out there: Viral Outbreak Volume One contains all ToTc, Teksonik, Tim Conrardy, Jeremy Janzen, manner of TI-based sounds. Classic wavetables, rsmus7 and more! raw saw and pulse waveforms (sampled at multiple * An amazing, TI-inspired, Wusikstation v1pulsewidths), unison dance leads, breathtaking v3 skin by Vera Kinter. pads and even punchy synth drumkits. Details: Wusik Sound Magazine 11

From Acoustic to E-Music:

A Brief Overview

by Bruce David

Sounds That Made History

A

famous sociologist who studied culture once said "History goes forward looking through a rear-view mirror." And, sure enough, now in my 60's, I see all around me software synths emulating Arp, Moog, Oberheim, early Roland synths, the Yamaha DX series...I have owned MIDI switch boxes larger than the computer upon which I can produce symphonic quality sound, create full symphonies and program almost any sound I might want with an instrument like Wusikstation. And the final irony is that in the times of the electronic instrument pioneers, we were trying to eliminate the "raw, course, warm" tone quality of analogue synths, now so highly valued!

I

n order not to mislead anyone starting this article, it is not an in-depth history of electric/electronic music instruments. It is more like a casual romp through what has come about, highlighted with anecdotes, memories, and fun facts.

Perhaps in the near future we will be able to begin a series that explores each phase of this incredible development of the human ability to make pleasing sounds, hopefully in an organized manner. But for this introduction, let's play in the park and leave an analysis of the park to future projects.

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H T

ow did all this come about? And why?

o some degree the massive expansion of music hardware into electrical, then electronic, forms was brought about by electricity itself. I had an engineer friend who once commented, "Don't you know that the first houses with electrical outlets made people say, 'Wow, we can put one of those in every room!' . It didn't occur to anyone then they could put 5 or 10 in every room." It has taken us awhile to realize what could be done with this immense force. In music, essentially contented with the sounds of acoustic instruments, it took even longer. There were two directions that realization took: 1) artistic pioneers, like Robert Moog, who saw what was possible with this new power source; 2) the music business (for example, soundtracks for films) which saw a much more economical way to produce sound than to hire an entire orchestra.

Most of the pioneers had to scramble for resources;

the large scale entertainment enterprises had only to redirect them. So for the first 10 years or so of development (mid 60's to mid 70's) we saw development in the direction of imitating acoustic instruments. While artistic musicians were saying, "Listen to that patch," industry executives were saying, "That doesn't sound like a string section."

A

s well as the impact of readily available electricity on modern culture, things were happening with the evolution of music itself which contributed to the rapid integration of electron based instrumentation. Radical composers like John Cage, Henry Cowell, Morton Subotnick were challenging the limits of acoustic instruments to perform new and interesting music. This new challenge left a wide gap in instrumentation which electronic devices were about to fill.

T

he earliest days of analogue electronic instruments were too crude to satisfy the needs of those seeking "realistic" imitation of instruments, but provided experience to progressive composers about what was possible and coming soon. It provided the opportunity to art to experience sound as sound, without reference to an established mechanical instrument. This was the making of a revolution similar to the one in visual arts at the turn of the century when the Impressionists demonstrated that an image does not have to be "something;" i.e., an immediately recognizable image of a known object. By 1930, painting adopted color, form and composition were subjects in themselves. Then came the explosion of "modern" art through artists like Jackson Pollack in painting, David Smith in sculpture. Music was less than a decade behind.

A Brief Overview Robert Moog & the MiniMoog

R

obert Moog, a kid from New York's Bronx High School of Science, died in August of last year, 2005. He was 71 years old. He had changed the world. Nothing known as music would ever be the same again.

M

oog Music was the beginning of what has become electronic instrumentation and sequencing. There were other projects around the world in the '60's, experimenting with electro-musical devices. In fact, Moog Music grew out of R. A. Moog Co. which marketed the Therimin, one of the first electro-musical devices, invented by Leon Therimin, a Russian, in 1919. When Moog founded the initial company, he was 19 years old. He was no ordinary kid from Bronx High School of Science. He went on to a degree in physics from Queens College, NY, a degree in electrical engineering and a PhD in engineering physics from Columbia University. He was a part of the Columbia-Princeton Electronic Music Center where he created the voltage controlled oscillator with which we are now so familiar. With it he began development of a useroriented instrument we now call the synthesizer.

M

oog's synthesizer was the first packaged with a true user interface, a piano-style keyboard. The overall synth was modular, in the form we know modular today: individual components patched together with cords. And all of the standards for interfacing analogue instruments were created by Moog in the process of developing the Moog Modular. Out of that system grew the Minimoog which was the first highly portable synth with a piano keyboard and integrated circuitry in one case. This was the instrument used by one of Moog's first customers, Wendy Carlos, to create the revolutionary Switched on Bach.

R

obert Moog had opened the door to an entirely new era of music production. And by the late '70's companies like Oberheim, Arp, and Roland in Japan, had begun to make marketing way among professional musicians and bands. But a new problem was developing as production and Wusik Sound Magazine 13

A Brief Overview competition built. As is typical to competitive environments, each company was trying to corner the market by making their product unique and exclusive to their components. However, this quickly became self destructive as the users found no one instrument that would create the range of differing sounds the were seeking. No ones anything would connect to anyone else's anything. You could use Moog with Moog, Obie with Obie, but if you liked a Roland sequencer module and a Sequential Circuits synth, you had a big problem. There was no way to connect one to the other! In 1981 a conference began headed up by Roland Corporation to come to terms with this problem. The idea was to create an industry standard among the major manufacturers of electronic musical instruments but Yamaha did not attend and went forward with creating its own interface system which, in fact, ultimately became the MIDI standard.

MIDI Battle of the Giants

A

s the music/entertainment industry began to invest more money into the potential of electronic instrumentation, large corporations like Yamaha and Roland had begun to take notice and tool up for mass production. Roland was the largest electronic instrument maker in the world but their entire operation could have been placed in the a far corner of the massive Yamaha Corporation and gone unnoticed. The battle was at hand. Roland with "home court" in the music industry was faceto-face with an industrial giant which had established distribution systems world wide and a very proficient engineering staff. Yamaha had actually been in the running during the days of Moog and Arp with the CS-80 keyboard but never at the manufacturing level about to take place. A revolution of untold proportion was about to occur in the world of music with the arrival of MIDI (Musical Instrument Digital Interface).

O

berheim in particular had set quality control standards like no other early manufacturer.

Foreseeing the rigors of road travel, their circuits were protected from vibration by being cast in a block of heat dissipating resin. The overall circuit was replaceable in modular (and very expensive) units only. But the road standard had been set and was taken to task by Yamaha's capable staff. Two years after the release of the DX7 their product failure rate was less than 1%!! Roland, the largest synth manufacturer in the world, straggled behind with a sad 10%. And Sequential Circuits', who was actually first to release a MIDI synth (Prophet 600), numbers were off the charts. Bands who loved the sound of the Prophet series usually carried one for stage and two backups in the van just to ensure performance. How serious was Yamaha's quality control? There was a footnote in the DX7 User Manual that warned that under certain Gamma Rays, however rare, the DX7 might malfunction!

What caliber of company would test its synthesizers for gamma ray response? Their quality control was so serious that they quantified production of the DX-7 for a given period based on assembly speed, and if they exceeded stock with sales, anyone who wanted a DX-7 had to get a waiting list and wait for the next production cycle! One that was, as a result, to become the world leader in the emerging consumer keyboards market, quality control being there a huge factor.

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A Brief Overview T

M

any smaller but influential companies were growing up from within the industry. Korg, then limited to synths, and Ensonique with the first affordable sampler (but both with overwhelming quality control problems) made a mark in professional digital music systems. Something magical was happening as, beside these developments, hardware sequencers became more usable. Drum machines with good quality imitative sounds were springing up everywhere. A drum machine is of course just the combination of a sequencer and a sampler, so as both technologies moved into highspeed development, so did drum machine. But this was a vast market, beyond anything the major manufacturers had foreseen. Drum machines as a lone adult toy, with or without other instrumentation, were quick to learn, basic to rhythmic music, and affordable. Within a year after MIDI every major manufacturer had one (if not four or five) on the market. And their sales quickly spread to the consumer marketplace for just these reasons. But again, marketing was a struggle because they were mostly available only in professional music stores, limiting their distribution. Not until they were packaged into keyboards as complete home system did they begin to show their potential.

he professional music industry was not ready for consumer products. Retail stores were staffed by musicians not sales clerks, and they were accustomed to musicians being their primary customers. They "spoke the language," shared in the needs and were technically capable in their various areas. While Roland soon conceded the consumer area to Yamaha, even this marketing giant stumbled somewhat in markets other than Japan. They seemed to want to produce very usable consumer keyboards but market them professional music store style with individual, privately owned shops or through professional music stores. I was working in the largest professional music store in the area one Christmas season, helping out in the keyboard area (the "MIDI zone". A college friend and very talented drummer also worked in this store selling drums and percussion. By way of contrast, the fabulous Yamaha professional electronic drum system was a major show piece in his stock. During a momentary break he came into the keyboard room with a sort of blank daze on his face. He had just been through a hair raising incident with a lady on the telephone who was outraged that she was unable to locate a small, plastic cased e-drum pad made by a major toy manufacturer. And it was beyond her why we, being the top music store in the area, would not have it in stock. He had tried to explain to her the difference in the product spectrum between toys and professional gear without much success. My colleague came into the room told me what had just occurred and commented, "It's a Zen exercise trying to talk to someone who knows absolutely nothing!" The products were on the market, a very receptive body of people wanted them, but the gap was wide --- but not for long. Another Japanese giant, essentially unknown to the world music industry had seen the opening market and quietly designed and implemented a show stopping entry that bridged the gap.

Wusik Sound Magazine 15

A Brief Overview

NEXT ISSUE: MIDI to MegaByte: The Evolution of Computer Aided Music

WalMart Wanted It!

A

s Yamaha continued to tip toe into the consumer marketplace, hedging their bets at every turn, the Casio CZ-101 came in like thunder. It was brilliant innovation by a company who had been in electronic gadget (watches, clocks, calculators, etc.) business from the earliest days and was oriented to consumer desires. The CZ-101 introduced a much less expensive "unique sound" option than FM synthesis (developed in a lab at Stanford University), phase distortion. And, long having had to deal with what people do to things, Casio engineers met all four of the major consumer food groups: portable, plastic, unbreakable, and cheap. Here was a musical instrument with a sound unique enough that musicians were soon scrambling after it and stacking four or five on their keyboard racks, that kids could bounce off walls but it kept on playing.

Three magic words soon followed its release: "WalMart wants it!" Apartment dwellers were already beginning to take interest in the amazing alternatives home keyboards offered to a comparatively huge and cumbersome piano. And they were in one of the most active, "disposable income" groups Anyone owning a piano who moved a lot is usually short off friends. Yamaha was first to see the enormous consumer potential with Casio coming quickly coming behind them. Small, light-weight keyboard synths with pcm sampled sounds appeared on the consumer market in the late '80's in a big way. Dream Christmas presents for budding musicians, ages 8-80, (they had headphone jacks!) they quickly conquered the amateur music scene, and formed the beginnings easily accessible computer aided music.

I

n this article I have set aside an large area of music instruments in order not to clutter the discussion. But a parallel industry developed and continues to develop in "electric" pianos and organs.

The advances are mostly adaptations of what has been developed in the digital music field but it remains an active and lucrative enterprise in music.

But for our purposes, it is not the industry that led to the music world being turned on its head.

N

ext issue we'll talk about the transition in devices and music itself due to the entry of computers into the music instrument market (already hidden inside the case of prominent electronic instruments) and their rapid adjustment to consumer demands.

16 Wusik Sound Magazine

Wusikstation V3

TT ii pp ss

&TT rr ii cc kk ss

Disk Streaming Secrets

S

ince V3, we now have the new Disk-Streaming option. But how does that change your life? For instance, the HQ Piano sets will now load much faster. But DST also uses a bit more CPU compared to regular RAM playback. So, after you have selected the sound you want and played the track you had in mind, you can always turn off DST for that instance, let Wusikstation load the whole sound into memory (if you have a lot of RAM) and that will use much less CPU, compared to leaving it using DST all the time.

A

nother option would be freezing the track, if your host has such an option. We don't know how much "stress" this can bring to your system, so you have to tweak things a bit. On my machine, I had to increase the actual sound-card buffer to 512 samples so DST would work in a better way. Still, my HD is not that fast, so there are times that it struggles to stream the data. Also keep in mind that DST will stream a 32 bit file (or files) from disk, depending on the loaded preset.

In the case of HQ Essenfelder Fake Stereo, it will actually stream 2 files: left and right. So if you are playing a sequence that uses 16 voices, that will turn into 32 voices being streamed from different positions on your HD, taking a lot of juice from both your HD and processor speed. In some systems this will work without problems, but on older machines this could be very problematic.

For those cases, just turn off DST when possible.

To do so, right-click on any empty area of the GUI to bring up the Global context menu. Now click on Disk Stream - File Size above and set to Off. That's it. This setting will be remembered only for the current instance. If you wish to turn DST off for good, use the Set Default option from the Configuration window.

by Williamk

?

??

??

Ask WilliamK ?

"How many hours of sleep you get?"

Actually, I sleep a lot; around 9 hours during the winter time, and a bit less in the summer. I also work a lot, I'm always thinking of work. It is very hard for me to relax, but I'm learning how. MoniKe understands that, and since we have no children, it is easier to handle the time we have.. Still, we got a cat, but he's very calm and doesn't require a lot of work. This last month I couldn't sleep as much as I like because the little bugger keeps waking me up early so we can play with him. He's such a kid, only 12 months old.

Little bugger

What's New @ Wusik

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! !

!

"New Wusik Site"

We released a total new site this month, making things clear and easier to navigate.

"Product Line Adjust" All the old packages were removed, now you have only one option for purchasing Wusikstation. The V3 Two Gig Collection. We also added the DVD Mail option together with the Downloadable product.

!

"Wusikstation Free Player" Now all new Wsm issues will include a Free Wusikstation V3 Player, with some restrictions, but still totally usable for checking out the included sounds. For more information about this player, visit:

!

www.wusik.com/w/ws_player.html

"Wusikstation V3.0.6 Released" My regular schedule is to wake up, check my emails in my PJ's, take a shower, eat lunch, then continue to work non-stop for around 6 hours.

That's why I get the most of my wakeful hours.

There are days I just don't work at all, as I have to take care of other things. Being your own boss is hard sometimes, but we manage it in a nice way.

?

"Last week you said, 'I'm always here, like the Sun'. You do seem to be around a lot, how do you manage that?"

The wonders of the Internet. Since I'm online while I'm working, I get the emails every 10 minutes, sometimes even faster. When I'm on the street, I try to check the emails from my mobile as often as I can. The only times that I'm not online are: when I'm sleeping, on the can, or just doing something else that you wouldn't care to hear of.

So yeah, I'm always here, when possible.

!

Disk Streaming is here. Plus several bug fixes and improvements.

"Wusikstation V3 Companion Announced"

!

Three Extra Tools for your Wusikstation: Multi-Preset, Sample Editor and Sample Converter. The PreOrder option is already up on the site, with a 50% discount towards the final price. For more information, visit: www.wusik.com/w/ws_companion.html

"2nd Week of October"

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Wusikstation V3.0.8 update with the detached File-Browser window that users requested so much. Keep an eye on our forum for the final release.

Wusik Sound Magazine 17

Mastering Tips

by Roy Queenan @ Redshift Audio

"Sequenced Soul" Enhancing the feel of sequenced drum tracks

D

AW's these days are powerful tools in the process of making music, but they can be as much of an impedence as they are helpful when it comes to matters of musical "feel". Rigid quantizing can leave music lifeless, cold, and robotic. Using some of the modern "groove" features contained in many sequencers can be helpful, but might not give the exact results that one desires.

A little patience, analasys and a loose way of thinking might go a long way toward bringning the groove in your head to the groove in your music.

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hat to do first? I can only speak for myself when it comes to developing grooves, but I've found these things to be effective:

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lay your track to the best of your ability.

Don't worry about being perfect.

Concentrate on what feels right. A GM-MIDI Standard configured drum set allows at once a set-of-hands access to kick, snare, hi-hats, and toms. Take advantage of the layout.

Adding some realtime imperfection can place the right amount of soul into your groove.

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ost of us, when creating drum tracks, as a habit, use quantization to some degree. After all, we're imperfect, and our sequencer's timing (at least the math part) is, indeed, perfect. The sequencer's quantization works in this fashion: create timing points, and move the chosen events onto, or toward those points. So, 1/16 timing allows a grid of 16 points per measure.

With accuracy down to 996 parts per quarter note, and better, quantizing at 1/16 resolution limits your chance to do much, as far as being soulful goes.

Have no fear, though, you can still have total control over the timing of your track, and get the feel that you are seeking.

18 Wusik Sound Magazine

Q

uantize only what really needs it. On a grid of 1/16 quantization. the snare on a standard beat falls dead on 5 and 13, and the most important kick (unless your quite a syncopated lil' devil) falls dead on 1. Quantizing them can add the stability that your groove needs, while still allowing ample freedom to get loose. As well, eighth-note hi-hat patterns sound great with a few a little off-time hits.

If you can play the pattern steady enough to do without quantizing, this will affect the feel and may be what you're after.

Mastering Tips

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et familiar with the "swing" and percentage-based quantizing features of your sequencer. Many of the most distinctive "shuffles" were the result of the right mount of quantization that fell between 1/16 and 1/24 grid quantizing.

Good examples of this are "Keep on Movin'", by Soul II Soul, 808 State's "Pacific", and MJ Cole's "2-Step" sound.

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se volume and pitch as tools in your grooves. Tuning "extra" snare hits (outside 5 and 13) up a few cents, and reducing their volume, can result in a fake "electronic brush" feel that can really create rhythmic complexity. The same goes for pitching auxillary kick hits down.

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amiliarize yourself with the sounds of other artists and songs whose feel you like:

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ard quantizing all parts of your drum track to 1/16, and quantizing all hi-hats and rides in a house track to 1/24 can get one close to the sound of Tyree Cooper.

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f you want to alter the feel of sampled drum parts, quantizing swinging parts to 1/16, at a tempo faster than yours, creates a feel appropriate for jungle music. Doing a sample at a fast tempo with slightly slower samples is great for "Baltimore Club"

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f course, the best thing is to get into your tracks and do what feels good. But concentrating on the feel of your drum tracks may breathe life into what you thought was a dead sounding track.

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s mentioned above "percentage" quantizing toward 1/24 gets that "light shuffle" feel.

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is-placing auxillary snares in a 1/16 quantized pattern by hard quantizing them as 1/24, achieves the "New-Jack- wing" sound of the mid 90's.

www. wave shaped. com www.waveshaped.com www.waveshaped.com www.waveshaped.com www.waveshaped.com waveshaped.com waveshaped.com www.waveshaped.com www.waveshaped.com waveshaped.com waveshaped.com

The waveshaped team - Audible sounds Wusik Sound Magazine 19

s a e d i y r a Vision K m a i l l i W by fter seeing products such as Receptor, UAD cards, Powercore and the Pulsar / Scope series, I wonder about a very simple hardware solution that would allow you to use an extra computer as a slave VST processor? I know, you can do this already with the FxTeleport program. . But still, it takes a lot of work. ow about something dead simple? You build a basic computer, Motherboard, Processor, Memory, PowerSupply with a small case. You plug in a special PCI card that has nothing but a simple chip that takes care of connecting this Slave computer to your Host. On the Main (host) computer you plug in the same card and a cable connects the two controllers. ou turn both machines on, the PCI card boots up the slave machine and starts its own OS that could be stored on the PCI card Flash-Memory. I remember some Netware cards that did this. I'm sure that those are still being used because my motherboard BIOS has the option, BOOT FROM NETWORK. Anyway, this would be something simple, that would await information from the end of the card cable. Making the Slave machine to be totally handled by the first computer.

20 Wusik Sound Magazine

n the main computer you fire up a special VSTi inside your sequencer, and that has a code that sends information to the PCI card, telling the slave machine to handle and compute some synth or effect. he PCI card could also work with more than one slave computer, giving you any extra power you might need. he good thing about this is that you wouldn't have to worry about files, OS or backups for the slave machines. Everything is done by the main computer, making everything easier to handle. nother solution could be a Linux boot saved on a CD-rom that could take care of everything, and you handle things via the Network. This is just like Receptor works, but all you would have to do is purchase the software and build your own machine. The problem here is the various sound-card drivers, video-card types, network chips, etc. But things could be slimmed down to a series of brands, maybe even only certain motherboard chips that are well known and easy to find would be supported. Since the machine wouldn't need a monitor, only the VGA resolution could be supported , which is the same on all video-cards, a standard. Sound is not needed, leaving only the network as a problem.

till, this is not a bad overall solution I must say. CD-rom drives are very reliable and cheap, and again, you wouldn't need to worry at all about backups and stuff like that for the slave machines. 'm pretty sure that I will get some emails telling me that there are already such solutions, and that I just missed those. I know their are already such products, but I still think that things should be easier to setup. Muse did a great job with Receptor and the Uniwire interface. But it's still very expensive hardware, depending on where you live.

Also, building up a FxTeleport or Linux Network of computers is complicated and can be a very frustrating job. aybe something simpler is already around the corner.

Maybe I will be surprised soon.

Taking to the next level...

Wusik Sound Magazine 21

The

Compulsive Tire-Kicker 2:

Funkychickendance looks at some budget-priced "space synthesizers"

What is a ‘space synthesizer’? Is there an agreed definition? I don’t think so, and so I’ll make one up: something that reminds you of the earliest synths, the ones used to make beeping and buzzing sounds, strange arpeggiating spirals, humming and chirping in early sci-fi movies and TV series. By this definition, the daddies of the genre were probably the theremin, the BBC Radiophonic Workshop’s gadgets – especially whatever was used for the original theme for the Dr. Who series – and less trivially, the experimental synths used by classical composers in the fifties and sixties.

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ince ‘in space no one can hear you scream’ – vacuums don’t conduct sound – a space synthesizer is in the mind of the listener.

To me, a lot of early Pink Floyd had this character, even though they used only the most pedestrian of instruments. Another component that defines the genre is a lot of radio and static interference sounds. We’re all so sophisticated nowadays that we don’t recognize these anymore, unless we’re listening to primitive MW or LW stations in a car, and at the edge of a station’s range. Then the oodle-oodle sounds, the phasing, the chirps and squawks, come back, reminding us of childhood listening.

S

ince all of these sounds are pretty lo-fi, why would we seek to recreate them?

Because of those associations, that’s why! For the same reason we love bitcrushers, fuzz and other effects that remind us of worn-out vinyl…

22 Wusik Sound Magazine

I

f you tinker around with any sophisticated synth, you can get to the spacey sounds, in time. Wusikstation features quite a few scattered through its various soundsets: Tim Conrardy is the name that springs to mind immediately, but several other designers favor this kind of effect too. Even though they might call it ambient instead.

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ut, at a budget price, are there good value-for-money space synths to be had, with well-designed presets, that don’t require deep programming knowledge? You bet there are.

I own, and have test-driven, the following free VSTis: Cygnus Crystal Protoplasm STS-24 LaserBlade Free X-WOF III Free

The Compulsive Tire-Kicker

T

he latter four are stripped-down versions of economically priced synths from H.G. Fortune, an inventive German designer.

If you doubt what I say about the paid versions below, go grab the free demos and see for yourself.

The first on the list, Cygnus, is a collaboration between the aforementioned Tim Conrardy and the excellent British freebie design house, Krakli Music, which has suspended operations for a while (but not, we hope, forever). It comes with a conventional GUI with recognizable controls as well as one that is straight out of the psychedelic coloring book. Crystal is a long-established ambient/trance freebie from Green Oak that

produces quite enough ‘space sounds’ to qualify in anyone’s book. As freebies go, it’s probably the best on the ‘net, many agree.

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f course, there are others, but I’m only going to write about what I know, okay? Try any of these free offerings first, to decide whether ‘space sounds’ are your kind of thing, or a good fit for your musical creations.

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f they have something that appeals to your taste, move on up to the following:

1

M42 Nebula. A creation of Algomusic, run by the ubiquitous T. Conrardy. This synth is about $55, though I bought mine on Marketplace for $40, with a large extra soundset thrown in. Definitely a beauty, it combines rhythmic elements, giant pad and space sounds which can be manipulated in real time. A kind of standalone space synth system, in other words. It also allows you to load your own SF2s, and there is a fine $10 set from Zvon Music called Constellation, specifically designed to work with M42, plus an earlier pair ($15 total) featuring samples from his Julie and Marching Horns vaults of sounds.

2

M51 Galaxy. A quite different beast from Algomusic, selling for about $80. (I grabbed mine for $64 in the 06 summer sale).

It’s actually two synths, packaged together.

Each has Phase Modulation ( PD) Virtual Analog (VA) and FM ( Frequency Modulation) modes, with sub oscillators, digital controlled filters along with two 8 stage graphic envelopes, LFO, and an effects section together with a complex mod matrix, recordable x-y warp gestures, a split keyboard and trance gate. Warning: Check the demos, and you’ll buy it. Spacey people will notice that M42 and M51 are distinctive astronomical objects, from the Messier catalog of galaxies.

Wusik Sound Magazine 23

The Compulsive Tire-Kicker

3

ProtoplasmPro. An HG Fortune creation, with a fine GUI by Vera Kinter. The trainer-wheels version of this should have grabbed your attention.

But the ‘Pro’ sells for a mere €39, and has a much richer feature set. The easy to handle modulation system with 8 LFO/S&H-outputs plus a transition system and unique Supermodulation (SMOD).

There are pattern-like LFO-waveforms as mod sources, so you can create complex modulations with only very few settings. The developer says STS-24 is best suited for highly vivid pads, atmospheres and textures but of course, you can also make standard synth sounds like bass, leads etc. There are over 1200 patches included with the Pro version. There’s an add-on soundset for this one, too, Admixture from DangerousBear (dBu)

4

STS-24. HG Fortune’s successor to STS-17 and STS-21 in recent times, where STS stands for ‘space transition synthesizer’ STS-24 is particularly excellent. It features a ‘Wave-Transition’ method to create unique atmospheres, soundscapes, pads & textures. The user interface has3 "lazy" buttons for randomizing different sets of parameters, so tweaking it is easy. The Transition method adds motion to create an evolving sound . It is as sophisticated in sound as many far more expensive complex synths, but costs only € 39.

(Okay, I got mine for $24 in the used market…) dBu’s ST2 collection Involution works with STS-21, and is being upgraded to STS-24 soon. STS24 also loads user’s WAV files.

5

LaserBlade. Is this a space synth? I don’t know. It’s certainly a lot more ‘dance lead’ in style, but fits beautifully with the two previous HG Fortune offerings. It’s a development of the earlier Swamp synth, now withdrawn. LaserBlade has two digital PCM-wave oscillators powered by 170 different waveforms. Each oscillators has a Harm+ knob for enhancing the upper harmonic structure.

There are three LFOs (one bpm-synced; one with 42 patternstyle waves, one with shapeable waves).

24 Wusik Sound Magazine

The Compulsive Tire-Kicker A novel addition is a ‘Metallize’ section for more metallic timbres incl. two modulations. The developer says: “In most cases you will have no difficulty getting quite 'sharp' or digital sounds as well as a variety of short percussive Seq-sounds.” But it’s not all grunge and metal: you can also generate really soft, bell-like sounds and FX. Find out from the free version, the ‘pay’ version is only € 29.

6

Golden ASET. Initially, this was an HG Fortune synth inspired by Vera Kinter’s sound design ideas. Lately, it’s been offered directly by her, through her artvera-music.com website.

In my estimation, this is a synth with a GUI that is close enough to being a work of art. And the presets are startlingly good. Clearly, this is one of the best undiscovered secrets in VSTi-land. Oh, and it costs only $30. It has two analog-style oscillators featuring sine, triangle, saw, ramp and square waves, then two digital PCM-wave oscillators powered by 110 different waveforms. There’s a lot more beyond those basics, but the killer feature is 4 ‘lazy buttons’ to randomize different sets of parameters for individual sections and also for the whole plug-in. It comes with over 600 patches in five complete banks, including one new bank from Stanley King. All patches from the original Aset-2121 are also included. And, it’s a one-screen GUI and has a pretty low CPU hit. Vera is a Wusik family member, so you’d be a total rat not to own this <g>

So, are there others?

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X-WOF III. Another HG Fortune creation, the latest in a series. This one is less a synth that an aleatoric music creation system. You set it up and it burbles away, within parameters you set. If I owned a New Age restaurant, I’d play this non-stop and skip the Enya tapes, myself. You can jam to it, sleep to it, anything. An admirable piece of work, verging on genius, for €49 for the full version, and otherwise free.

To me, not really.

You can make space sounds from Octopus, from CronoX 3, from Rhino or Cameleon 5000. [In several cases, you’ll find the initials TC after the spacey-sounding presets.

What a surprise!]

But all those synths are three-figure expensive, and capable of great sophistication.

The three White Noise synths – Doppelmangler, Additive and Zero Vector – have a spacey edge to them, but are projected at a wider market of industrial and ambient users. And, unless you buy secondhand like me, they’re out of the Wusik spectrum, entirely.

Wusik Sound Magazine 25

The Synth Romance

by WilliamK

Last month, we talked about Challenge and Response (CR) Copy Protection.

Its just pure evil. I'm one that no longer uses software featuring such a thing.

But guess what!

I had one on my cell-phone and didn't even know about it.

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he software I use to check my emails uses the mobile serial-number for the CR protection. Since this number only changes from phone to phone, I never worried much about it. Is not like I'm changing the phone's GSM chip and it stops working.

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he program had been working without problems, so far. I use it to check support requests and other things when I'm not at the office. But the other day, a message informed me that a new update was available. So I downloaded and installed it, right from the phone.

When I tried to check my emails again, I got a protection error, and a message telling me that I should contact support.

26 Wusik Sound Magazine

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was a bit mad, as I couldn't see my emails. So I had to use the phone's own email system, which is pure crap, if you need to know. (That's why I use a 3rd party solution, after all)

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contacted support, and they requested some information I only had on my main computer. So it had to wait until I was back at the office. Only the next day I got a reply again requesting the serial-number of my phone, which they should already have had . Some hours after

The Synth Romance that I got a reply telling me that they fixed the problem on their server.

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ow wait a minute here, does that mean that every time I try to check my email the program checks to see if my copy is valid, directly on their server? That sounds very odd.

What happens if the server is down?

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nyway, so far the program is working again, without problems. But I did tell the company that this was the worse thing I ever saw in terms of protection. My copy is legit', I paid for it. Why should I be punished for that? And again, why did they have to update their database in order for the program to work?

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t is funny, the other day I was wondering about adding a scheme onto my own programs, that was similar to this one. Last month, as some already know, proved to me that CR protection was not the right path. But how about just adding a small code that would call my server and tells me what serial numbers have been used?

Right before I started talking about this with users, I see this thread, where someone is complaining that some company is using spyware on their programs. (I won't say the company's name or the program, just to avoid problems). The user stated that once you open this software, it would actually use the internet to send information back to the developer. They opened Pandora's Box. Users felt violated, punished for paying for the software.

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hat opened my eyes, cleared my vision, and made me see once and for all, no protection will ever really work without harming the good users; the ones who actually paid for the software. Its like open warfare, I might say. You think you are hitting the enemy radar system, but it's actually a school full of kids. Sad, I know, but its true, and you know that.

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t least now I know. I won't bother with those things anymore.

on s ' t Wha p

m A r u yo

"Thats a cool noise" Edition

Seventeen Years

by Ratatat Album: Ratatat Style: Electronic

Eple

by Royksopp Album: Melody A.M. Style: Dance/Electronic

Psychobabble

by Frou Frou Album: Details Style: Downtempo

Numbers

by Kraftwerk Album: Computer World Style: Electronic

E.V.A.

by Jean Jacques Perrey Album: The amazing new sound of Jean Jaques Perry Style: 60's Funk

Red

by Exodus Quartet Album: Way Out There Style: Acid Jazz

King Of The Beat

by Mantronik Album: Join Me Please (12 Inch Vinyl) Style: Break Beat

Donna

by Art of Noise Album: Into Battle with the Art of Noise Style: Electronic

Androgeny

by Garbage Album: Beautiful Garbage Style: Alternative

6 Underground

by Sneaker Pimps Album: Becoming X Style: Downtempo Wusik Sound Magazine 27

Making Of the Solomon Set

the

(Part 2) The Solomon Set will be released in Wusik format shortly, at the bargain price of $14.95 Last month I described how I recorded the kit: in this part I will describe how I mixed the kit, and edited the single hits...

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s I mentioned in the previous part of this article, my original intention with the Solomon set was to create a BFD-style set with separate samples for every mic of the original set-up. The whole point of such a set is to allow the user to mix the kit freely, so I started by simply adjusting the gains of the mic's to set a basic balance. Of course this is not easy to achieve with single hits, so I used the bits when Leon was warming up and playing 'round the whole kit instead. Once the levels were about right I routed all the mono mic's to subgroups and panned them hard left or right, so I ended up with 3 stereo busses: Buss A: Kick left, Hats right Buss B: Snare top left, snare bottom right Buss C: Rack tom left, Floor tom right

I

also disabled the mid-side matrixes on the overhead and room mic tracks in order to keep those as MS stereo.

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he next step was to trim all the samples.

I was determined to preserve the phase relationships between the mic's so, rather than chop up each mic recording separately, I positioned 28 Wusik Sound Magazine

by Dan Worrall Tracktion's markers carefully around each single hit, and then split all the clips together. I took care to use the close mic track for each drum when positioning the left marker each time, as the further the mic is from the source the later it will be when the sound will reaches it (if I had used the room mic track to line up the marker I would have risked losing the first few samples of the close mic'd version).Each hit was then exported from Tracktion using the "render each track to a separate file" option. This function is really designed for exporting a Tracktion mix to another DAW for mixing, and basically just automates the process of selecting and rendering each track in turn... but it was also very useful in this situation! The result was 6 mono files and 5 stereo files for each hit: I filed the mono versions away for possible future use, and loaded up the stereo versions into Reaktor.

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won't go into details about the Reaktor patch I made with them. Let's just say that, although it sounds glorious, it brings my CPU to its knees at any polyphony setting higher than 1 voice (which is pretty useless for emulating a real acoustic kit). And, as the VST version of Reaktor has only 8 outs, I had to split it into two separate ensembles to use it inside a host. So I set about making a version that would be more useful in the real world.

Solomon Set

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nter Wusikstation! I resolved to create a pair of WusikSND files for lightly processed room mic's, and another pair with a complete mix of the close mic's and overheads. This would mean the kit could be loaded up and be instantly ready to fit into a mix, but it would also allow the flexibility to choose how much of the room mic's to use. Of course, this meant going back to "square one" with the editing!

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o, I revisited the beats that Leon played on the original session, but this time instead of just setting a basic balance I set about creating a full drum mix. This is a process that many beginner engineers try to do the "wrong way around," and I have made the same mistake in the past. The standard procedure when sound checking a kit for a live gig is to start with the close kick mic, then add the snares, hi hats, toms etc., and finally (assuming you even need any at all) adding in the overhead mic's to capture the cymbals. If you try this in the studio however, you will probably end up with an unnatural and flat sound, possibly with phase cancellation problems between the close mic's and the overheads. (See the "Live Drums" box).

become commonplace for the close mic of the bass drum to be much more prominent than the other drums, and usually also hyped with EQ to make it 'slam' more... unless its jazz of course!

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o I started with the room mic's soloed.

Although the raw sound was good, I found I could improve it slightly with a 2 dB cut at 10 KHz to reduce the slight sibilance of the cymbals, and slight boosts at 46 Hz and 128 Hz to make the kick and toms sound a bit bigger.

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ext up were the overheads: ribbon mic's have a natural tendency to roll off the extreme highs and lows, but otherwise are surprisingly flat sounding. I compensated for the warm coloring by boosting the highs by 3 dB with a very gentle "Baxandall" type curve, which can be achieved by setting a parametric band to the highest possible frequency (usually 20KHz) and using the Q to control its shape. A slight tendency to sound "boxy" was cured with a gentle cut at 350 Hz, and a 3 dB boost at 100 Hz brought out the fundamentals of the toms and a nice soft bloom on the kick drum.

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utting the two together sounded quite good, but I sensed a slight change of color on the snare with both at the same level, so I tried adjusting the timing of the room mic's track (if I had been really together I suppose I would have had a tape measure at the session so I could determine exactly the distance between the room mic's and, say, the centre of the snare drum -- but I wasn't that together I'm afraid.

So I had to work out a good delay setting by ear rather than with a calculator! To be honest though, I wasn't too worried about the exact distance. What matters most is the sound, and if you can correct problems with the recorded sound by creatively using phase cancellation, more power to you!). Anyway, I found that advancing the room mic's track by just 4 ms was enough, and the combined sound was much better as a result.

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he trick is to work the other way around: start with the room mic's and overheads. If you recorded it well you should be able to create a good image of the whole kit from just these; then add in just enough of the close mic's to re-enforce the initial transients of the hits and to give each drum more definition. The one exception to this rule is the kick drum. It has

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nce I was happy with these enhancements, I added some kick drum.

First in the chain of processes was a noise gate, but this was carefully set to drop the gain by only 20 dB when closed, to avoid sounding too unnatural. Next in the chain was the EQ. I found the fundamental of the kick drum at 50 Hz and gave it a healthy boost of 6 dB. One octave higher is a harmonic at 100 Hz. It is common practice in modern mixes to cut this Wusik Sound Magazine 29

Solomon Set first harmonic back to leave more space for the bass instruments, so I notched it down by about 3 dB with a Q of 1. A slightly wider cut at 400 Hz made it sound a little tighter and more focussed, while another healthy 6 dB boost at 4 KHz brought out the 'slam' of the sound. This is more EQ than I would normally apply to any other drum mic, but people are accustomed to unnatural bass drum sounds, and have come to expect it! The final adjustment to the kick drum was a touch of compression with a moderately slow attack, medium release, and a ratio of 2:1, which helped to exaggerate the initial transient of the sound and make the kick sound a little punchier.

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oth snare mic's were also gated, again fairly gently, with only 12 dB of attenuation of the top snare track with the gate closed. It is usually essential to invert the polarity of one of the snare mic's when mic'ing "over-and-under" like this, as the mic's are facing in opposite directions and are naturally out-of-phase with each other.

However, which of those mic's you invert will depend on the overheads: in this case I found that the top snare mic mixed better with the overheads when inverted, so I left the bottom mic as it was. The top mic was EQ'ed fairly gently with a high shelving boost at 6 KHz and a slight cut at 500 Hz. The bottom mic had a little notch at 400 Hz and another at 8 KHz, and a bit of a bump at 120 Hz. Both mic's had a shelving cut at 80 Hz and below to reduce low rubbish.

EQ'ing the snare mic's is a holistic thing that needs to be done in context, as the relative balance of the two close mic's and the overheads is critical to the sound.

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he hi hat mic was totally flat except for a high pass filter to remove the low mid-range and bass, and was added very subtly indeed. I could easily have managed without it!

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inally the tom mic's were both boosted at the drums' resonant frequencies, with gentle cuts at 250 and 500 Hz. The gates were set up like that on the kick drum, but with longer hold and decay times to allow the drums to ring for a little longer.

The max 20 dB attenuation allowed a little hint of the sympathetic resonance of the toms to color the sound of the other drums, and the loudest snare and kick hits would tend to open the gates a fraction. I was careful not to correct this (though of course it would have been easy with the single hits recordings) as I think it helps to make the kit sound like a unified whole, rather than just a collection of 30 Wusik Sound Magazine

different drums. This tiny bit of deliberate spill was accentuated a little by a touch of compression on the tom mic's, this time with a fast attack to control the initial stick hit and make the drums seem fatter.

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nce the sound was right I grouped the close mic's together with the overheads and set about exporting the mixed samples. The audio files were already trimmed around the single hits so I didn't need to do that again. But the "render each track to a separate file" option would have wasted time rendering all the individual tracks as well, so I resigned myself to doing it manually. Each hit was exported separately as a room mic sample, then as a mix of close and overhead mic's, then as a mix of all together, for a total of 210 stereo 32-bit samples!

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hat was the tedious bit... next up was the tricky bit: I had a dynamics problem to deal with, which stemmed from the fact that, apart from the hi-hats, the cymbals do not have any velocity splits. This was a deliberate decision. I think sudden velocity switches on cymbal washes sound extremely unnatural, so I always go for velocity cross fades instead. This is not an option with the current Wusik format (at least, not for a single sample within a WusikSND file anyway), so I had to make do with a single sample with its volume mapped to velocity. This was all well and good... except the velocity sensitivity effects the entire layer, not just the cymbals. This meant that I could not leave the separate velocity levels of the main drums at their original gain settings, as the already quiet ghost notes would have their volumes further reduced, according to the overall velocity sensitivity, and would end up inaudible.

Solomon Set

O

ne possible solution would have been to normalize all the samples when building the patch, but I was reluctant to do this as it would have lost the natural relative dynamic's of the different hits.

So I decided to do it the hard way instead.

F

irst I calculated a 'center velocity' for each hit of each drum: the main snare uses 10 separate velocity levels for example, while the edge snare has 9, so I worked out what range of velocity values would correspond to each hit and calculated the center value of each range. Then I loaded up Wusikstation with just a cymbal sample, and experimented with different velocity sensitivity levels. When I found a setting that felt good to me, I swapped the cymbal sample for a sine wave, and loaded up an Inspector XL level meter. I entered a note in the piano roll, set its velocity to the center velocity of the loudest hit, and then calibrated the gain of the channel to read unity on the meter. Then I measured the relative levels of each velocity level, and noted them all. For example, here are the measurements for the "Snare Edge" samples: Hit 1 - 24.3 dB Hit 2 - 21.2 dB Hit 3 - 16.9 dB Hit 4 -13.0 dB Hit 5 -9.54 dB Hit 6 -6.62 dB Hit 7 -3.98 dB

S

oundforge's batch processing features came into their own for the next step, allowing me to convert all the stereo files to dual mono in two goes. The samples were mapped into separate left and right "close" and "room" sets, along with an extra "lite" set which uses the mixed samples of all the mic's. The Lite set can be used when CPU is at a premium and you don't need to change the level of the room mic's, as it still sounds pretty good... and of course you can swap it for the full version at the final mix stage, if you wish.

O

ne other slight problem with using the Wusik format for drum samples is the lack of a mute-group function: usually the open hi-hat is configured to mute automatically whenever a closed hi hat is triggered, as if the drummer had closed that hats back together with the pedal. Actually, I find the traditional mute group function to be unsatisfactory for emulating an acoustic kit, as a sample assigned to a mute group will mute itself as well as being muted by other samples in the group... in other words it becomes monophonic!

Monophonic open hi hats sound very artificial if you try to do that "rock-drummer-open-hi-hat-wash" type of thing!

S

o I tried an alternative approach for this set. The open hi hats have multiple velocity levels, but rather than a transition from gentle hits to hard hits, they change from short to long. If you program a beat with an open hi hat that spills over the next closed hat, simply drop the velocity of the open hit

Hit 8 -1.64 dB Hit 9 - 0.00 dB

L

oading the samples into Soundforge allowed me to adjust the gain of each hit by the amount indicated, so hit 5 was boosted by 9.54 dB and hit one by 24.3 dB. This ensures that the relative volumes of each hit are as close to the original as possible. A few of the hits actually clipped slightly during this process, but as I exported 32-bit floating point audio files, and WusikSND files are also 32-bit, this was not a problem; the clipped peaks re-appear intact when scaled back down during playback!

Wusik Sound Magazine 31

Solomon Set to shorten it. I find this approach can actually sound more natural than the traditional method, as you get to hear the cymbals close together instead of just cutting a sample off short.

N

ow I just need to find the time to get this thing released finally!

L ive Drums

Ever tried recording the raw desk outputs of a live gig? Did you notice how the drums (which may have sounded huge through the PA) sound small and weak and lifeless in the recording? The reason for this puzzled me for a while, until I realised that the only reason the close mic'd approach sounds good live is because the PA excites the room as if there was a huge drum kit shaking the whole building: recording a DI output from the front of house mixer strips the room reverb from the sound and the result usually sounds flat and boring.

Adding an ambient mic somewhere in the room can make a huge difference to live recordings like this.

The band should sound bigger and louder, and you get a better sense of the crowd noise between (or during) tracks. If its a small venue the mic will probably also have a better balance of instruments, as the desk mix tends to be dominated by the things that are quietest on stage, such as vocals.

32 Wusik Sound Magazine

Considering each issue is packed with gigs of content, now you can get the Wusik Sound Magazine DVD delivered right to your mailbox every single month so you can spend more time playing and less time downloading!

$15

www.mfelkerco.com

Ugo Ironhead VST Drumsynth Review

by Jeremy Janzen

Last month I brought a review of Ugo’s Metallurgy VST effect to WSM. This month I’m having a look at Ugo’s brand-new synth.

"Synthetic Junkyard Percussion" Ironhead

T

o start off I’ll quote some of Ugo’ description of Ironhead: "Ironhead has been designed to provide sounds that will likely be different from the other percussion sources you have, increasing the chances of you finding something that will spice up your tracks, while minimizing the chances of overlap with your existing synths and samples." Ok, well that gives us an idea that Ironhead is different.

But how? For this information, I asked for some assistance with the technical aspects from Ugo. Once again, I quote: "Ironhead combines VA, FM, AM, phase modulation, and high speed delays in order to create a unique sound for the 15 distinct instruments within Ironhead kit." Wow! Sounds pretty complex.

T

he end result of all this is that indeed, Ironhead does sound very different from every percussion synth you’ve ever heard. No tired 808 kicks here.

Indeed, Ironhead is so different that it uses names

Ironhead also comes bundled with a VST multi-effect called Tunguska. Both are available together for $40 US, in PC VST format only. In this review, I will look at both Ironhead and Tunguska separately, and then make some comments about the total package.

for its kit pieces like "Thud, Whack, Ding" instead of the usual kick/snare/hihat descriptors. This emphasizes just how different Ironhead is.

T

wo of the really important aspects of Ironhead’s architecture are morphing and variance. Ironhead is able to smoothly morph between two unique plugin states using a LFO or MIDI CC control. Using morphing you can create an ever-changing percussion track in no time. Variance is a slider for each kit piece that controls a random timbre variation. By using small variance values you can achieve a type of humanization on your kits or some amazing effects are possible with extreme values, .

T

he overall character of Ironhead’s sound is metallic, sometimes buzzy, and very brittle. These sounds cut through a mix very well and are perfectly suited for layering with a warmer, more traditional drumkit.

In terms of innovation, Ugo has created something absolutely first-rate here. In terms of the sounds Wusik Sound Magazine 33

themselves, I think depending on your taste you will love/hate what Ironhead offers. Personally I can’t get enough of unique percussion sounds so I’m in the former group.

I

ronhead offers a generous complement of nearly 200 kits from a variety of authors (myself included). These are a great way to get you started, but as you’ll read below, you don’t need to be any type of synth expert to achieve great results from Ironhead.

F

or Ironhead’s interface, Ugo has moved away from his dark, industrial style from past plugins.

Instead,it is a stark, clean white interface that looks straight out of a very sanitary sci-fi future.

And instead of the mass of small sliders and knobs found on Metallurgy, Ugo has opted to use just a few sliders and some large XY controls. In fact, most of the tweaking for each kit piece is done from 2-3 XY controls alone. These XY controls are tied to many different parameters ‘behind the scenes’ and thus you can create some huge

34 Wusik Sound Magazine

variances in tone just by moving the X-axis a few pixels.

D

ue to the choice of XY controls, Ironhead is extremely simple to use. Most users won’t need to even glance at the manual, rather it’s easy to dive right in. For those wanting even-greater instant gratification, there is also a handy randomize button that can get you inspired very quickly.

O

n the negative side, I feel using XY controls instead of a more complex interface has created some problems. Often it seems like it would be very useful to be able to tweak each parameter individually, rather than through a macro-type XY control. I think a wider range of sounds would be possible with Ironhead if this were the case; although admittedly Ironhead would lose its amazing ease-of-use with a more traditional interface. So a trade-off has been made here.

Whether you are a hard-core synth-tweaker or just a casual user will determine how you feel about this trade-off.

I

n terms of resource usage, Ironhead ranks middle-of-the-road.

On my test system (Athlon64 3000+, 256ms latency) eight voices costs 1015% CPU usage. But after turning on morphing this figure can be considerably higher. Those with slower systems will have to manage polyphony and morphing carefully. Still, for these types of unique sounds this level of resource usage seems fair.

A

s stated before, Ironhead comes packed with a VST multi-effect called Tunguska.

What’s a "Tunguska"? I didn’t know either, but apparently the word refers to an explosive event in Russia in the early 1900s. According to Wikipedia, this event has all sorts of conspiracy theories associated with it – UFOs, Antimatter, and Black Holes: all the usual suspects. Translating this information into what this plugin is about is a bit difficult, but it seems to me this historical event’s mystery and power is being projected onto the Tunguska VST.

T

unguska shares a very similar interface with Ironhead. But its function is quite different. Its main highlights are a powerful granulator and a filter – with guest appearances by a distortion/downsampler and a stereo delay.

results were similarly useful and inspirational. Of course, Ironhead itself benefits very nicely from Tunguska. As stated before, Ironhead tends to be rather metallic-sounding, but the filter, distortion and granular options in Tunguska go a long way to providing more tonal variation.

O

verall, the package Ugo has presented with Ironhead and Tunguska gets my highest recommendation. Ironhead alone is extremely impressive with its cutting-edge experimental sounds and easy-to-use interface; and Tunguska is just the icing on the cake. I do have some concerns with the simple interface, but that aspect is down to taste. And the asking price of $40 (or $50 packaged with the incredible Metallurgy effect!) is one of the best VST values on the market today. I recommend trying out the Ironhead demo and seeing how you get along with the very unique sounds and interface. If you are thirsting for some very different, unique percussion sounds, I think you’ll find Ironhead delivers all it promises.

Links: http://www.ugoaudio.com/ (full disclosure: I contributed presets for and beta-tested Ironhead)

I

n addition to the interface, Tunguska shares the morphing modulation capabilities of Ironhead.

Using this you can morph between two granular and filter states. Further adding to Tunguska’s modulation arsenal are envelope followers for both the filter and granulator. The envelope followers operate with just a simple on/off switch – and a small knob controls the sensitivity. These envelope followers give Tunguska a very unique, organic sound that’s easy to control.

P

rimarily meant to effect drum/percussion tracks, Tunguska doesn’t fail to impress.

From glurgling, alien granular effects, to gentle filter enveloping, to massive lo-fi distortion crunch – its all on tap here. And the best part is that since Tunguska is a separate VST effect, you can use it on any of your favorite drum/percussion VSTi instruments, or audio tracks. For example, I ran Sonic Charge Microtonic through Tunguska and was shocked by how well the combo worked together; then Spectrasonics Stylus RMX was effected and the

Wusik Sound Magazine 35

The Electronic

by Roy Queenan @ Redshift Audio

Under groun d

I

n 1993, I purchased a bare-bones PC. In was a 486 DX running at an agile 66mHz. My old 80386 machine was too slow to run Cubase 1.54. In addition my 40Meg hard drive was getting filling up with junk. My setup was elite for the time. I had a Roland MPU IPC-T MIDI interface, patch librarian software, and all the games anyone could want. I also had a few game systems because the graphics and sound on these were superior to what the average PC could muster (even mine).

I E

"It all started with the Amiga"

n the search to waste more money on my machine, I saw one of those "10for-1" priced PC bundles of software that contains one marquee title, and nine unfamiliar offerings. What the hell...I bought it. verything on it was garbage, but the one marquee game. There was this one thing that I had dismissed for a week, because I couldn't run it without installing a DOS CD-ROM driver. I finally got the fortitude to find the CD driver disk that came with my Soundblaster card and install the CD driver (Ahh, the good ol' days!).

G

etting that extra piece of software to run was worth it. It was an experience that would change my outlook on the PC, its capabilities, and independent production quality forever. What was it that could have such a profound effect on anyone? Future Crew's "Unreal!"

36 Wusik Sound Magazine

T

his was an impressive showcase of site and sound that was occurring in realtime. This wasn't just prerecorded videos of what a particular system can do.

This was running code that was generating the effects, animation and synchronization to a soundtack, as I was seeing and hearing these things: incredible moving-pin frame effects, rotating texture maps, plasma-like color saturation effects, and pumping music. I seriously had no clue that my machine, or any PC, could do half of these cool things. This was my introduction to what the Future Crew was only a part of; what is known today as the Demo Scene.

F

or those unaware, The Demo Scene is an electronic culture that enables incredibly skilled programmers/artists to showcase their ablities, challenge each other and, apparently, have great parties. Over the last 15 years, or so, the scene has evolved into something much larger, but has not lost it's integrity. Unlike hip-hop, and punk-rock before it, egos, pursuit of commercial success, and mainstream acceptance have not destroyed the essence of this artform. Even the "pop" stuff is incredible in it's display of ability. On top of that, the competition, goading, and one-upmanship is just as clever as the demos themselves. Some of the current popular demo crews are Kewlers, Haujobb, MfX, Orange and Farb-rausch.

T

hough the graphics/animation element is the true basis of demos, some of the music is just as stunning.

The music makers of the Demo Scene make great showcases of what electonic instruments can do, while the use of today's popular multitrack sequencing software, plugins, etc. is also evident.

Many of the music makers stay true to the Demo Scenes roots by using tracker software to produce awesome music.

Y

ou would think that these demos, considering what they produce, would occupy hundreds of Meg's of

hard drive space on your computer. Quite the contrary,.demos seem to employ incredibly efficient code. And sometimes, it's the audio that makes up the bulk of the size of the demo, which is still relatively small. In fact, there are demo "intro's" that are purposely small in size; some as small as 4k!

A

s well, demos are put out on a vast array of platforms. The Commodore Amiga is still a very popular platform for demos. It has always been popular, and was once THE dominant platform. Demos can also be found for Linux, Atari ST, Commodore 64,Timex Sinclair, Gameyboy, Dreamcast, Playstation, and others.

I

f you're interested in getting familiar with the Demo Scene, http://www.scene.org/ is a good place to start. The site contains a comprehensive collection of demos, sorted in several ways, and has a search engine, as well. In addition to the demos, much of the music there is downloadble independently.

M

ust See/hear demos: "Variform" by Kewlers "Tesla" by Sunflower "Ibiza" by Orange "Liquid" by Haujobb

"Assembly 2006 - Another edition of Assembly has passed and it's visitors have given the scene some very good releases this year."

Wusik Sound Magazine 37

C r e a t i n g S o u n d s

by WilliamK

SID Sounds - Basic Level -

How to get those dirty old 4-bit SID chip sounds

M

ost people don't know this, but Wusikstation can also do this type of sound. The following tutorial will give you some basic ideas on how to reach the "perfect" chip noise. I also included several presets for you to test.

38 Wusik Sound Magazine

T

he whole process uses the Bit Quantizer Distortion (set to 4 bits) and the Wavesequencer sections.

Y

ou can either start with the INIT preset, or one of the ready-to-use presets included with the magazine files.

1

2

Turn W1 Layer ON. Load the Pure Sine waveform (you can also test with Saw and Pulse waveforms later on).

Click FX Insert to open the Insert section. Use the Big Quantizer Distortion and set the first option to 4 Bits.

C r e a t i n g S o u n d s

5

You can also test with more than one type of waveform by using a second sequencer lane.

T 3

Now Right-Click the W1 layer to open the Wavesequencer editor. Set Speed to either 76hz or 1/64bpm. I like 1/64 most for sequencing, as it sounds more synced to tempo. But 76hz sounds more "SID-like."

4

Set one sequence lane to TUNE, as displayed in the picture. Set the Loop size to 4 steps,starting at Step 1 and ending at Step 4.

Now you can play a bit with the tune of each step.

Here we use: 0, 12, 24, -12, which makes a very nice SID sound. You can also try something like 0, 5, 7, 12, or any other combination.

here are several presets that show more advanced options. Just load them and hear what happens. You can always change the tune of each step in the sequencer lane, until you get the sound you like most. Play a bit with filters and add even more distortion by changing the Bit Quantizer to 2 bits, or even 1 bit. Just be careful with the synth volume, as this process can cause it to get very loud. Also, when using the Bit Quantizer, you will notice that the Envelope Release stops working and acts like a "hold," thanks to the distortion.

T

here you go! Now you know how to make those old, dirty SID sounds. Mind you that these won't sound exactly like a SID machine, but they will have the "sound-hint" of one.

Wusik Sound Magazine 39

ArtVera NewAge Collection Volume 3

KEY-Bellendra KEY-SuperKeys

70 SoundSets - 70 Meg - 62 presets

PAD-Bird Paradise PAD-Deep Spheres PAD-Diagonal PAD-Fizzy Vibrations PAD-Fragments Str PAD-Magic Strings PAD-Pageant PAD-Really Dark PAD-Resonator PAD-Solar Plasma PAD-Star Empire PAD-Sun Bay PAD-Sunset PAD-Sweep Stringer PAD-Wide Glitter

http://www.artveramusic.com/ Location: Presets\Wusik Sound Magazine\Artvera NewAge Collection\Volume 03 ATM-Devil Swamp ATM-Fountain of Stars ATM-Live Forest ATM-Pleiades BAS-Distorato BAS-Glidebass BAS-Groundbass BAS-Hardman FX-Destructive Movement FX-Spectral Zones FX-Unknown Machine KEY-Baskey

40 Wusik Sound Magazine

SEQ-Astral Power SEQ-Cutting Force SEQ-DRM-Basstarde SEQ-DRM-Chaotika SEQ-DRM-Dunes SEQ-FX-Electric Thunders SEQ-FX-Ghosts SEQ-FX-Hungry Beast SEQ-Gremlings SEQ-Hazardous SEQ-Molotov Coctail SEQ-Night Chimera

SEQ-Speedy Guitar SEQ-Tandra SEQ-Technophobia SEQ-Termostrip SEQ-Vendetta SEQ-Walking Bassman

General Midi (GM) Set by Grymmjack.

Edited and Progammed

by WilliamK The 2nd Volume out of 3.

SYN-Dirty Touch SYN-Harmona SYN-Lambent SYN-Meteoric Echoes SYN-Noise Pipes SYN-Sputnik SYN-Synthebrass

40 SoundSets - 154 Meg - 40 Presets Location: Presets\Wusik Sound Magazine\GM >> 06 - Solo Strings

SYNVOC-Robocoder SYNVOC-Spirit Voices SYNVOC-ThereminVox SYNVOC-Uje-hey TEX-Ethereal Sphere TEX-Fluttering Effect TEX-Moonbeams TEX-Wind Bells

041 042 043 044 045 046 047 048

Violin Viola Cello Contrabass Tremolo Strings Pizzicato Strings Harp Timpani

>> 07 - Ensemble 049 050 051 052 053 054

String Ensemble 1 String Ensemble 2 Synth Strings 1 Synth Strings 2 Choir Aahs Voice Oohs

055 Synth Voice 056 Orchestra Hit >> 08 - Brass 057 058 059 060 061 062 063 064

Trumpet Trombone Tuba Muted Trumpet French Horn Brass Section Synth Brass 1 Synth Brass 2

Also, the directory "_All Presets in GM Style" will have all presets in GM Numeric Style. From 001 to 128. If you load a preset from this directory, WS will respond to GM MIDI Program Changes.

>> 09 - Reed 065 066 067 068 069 070 071 072

Soprano Sax Alto Sax Tenor Sax Baritone Sax Oboe English Horn Bassoon Clarinet

>> 10 - Pipe 073 074 075 076 077 078 079 080

Piccolo Flute Recorder Pan Flute Blown Bottle Shakuhachi Whistle Ocarina

Korg MS 20 Sounds >> Pad

by Autodafe Pad01 fx http://www.autodafe.n et/ 17 SoundSets - 44 Meg - 30 Presets Location: Presets\Wusik Sound Magazine\Issue 0006\Korg MS 20 >> Bass

11 Tutorial Presets

by WilliamK - Dirty SID Chip Sounds (uses the universal Waveforms that comes with any WusikEngine product) Requires V3 Effect and the latest V3.x.x version.

Location: Presets\Wusik Sound Magazine\Issue 0006\Tutorial - Dirty SID Sounds

Bass01 Bass02 Bass03 >> FX Fx01 Fx02 Fx03 Fx04 Fx05 Fx06 >> Lead Lead01 Lead02 Lead03 Lead04 Lead05 Lead06

Pad01 Pad02 Pad02 Pad03 Pad03 Pad04 Pad04 Pad05 Pad05

fx fx fx fx

>> Hybrid SID SID SID SID SID

Chip Chip Chip Chip Chip

Style Style Style Style Style

1 2 3 4 5

32 Maxx Claster Loops - 32 Meg http://www.maxxclaste r.com Location: Presets\Wusik Sound Magazine\Issue 0006\Maxx Claster Loops

Wusik Sound Magazine 41