Computer Music (May 2023)

Some of Manon’s choice mixing tools include the ‘workhorse’ FabFilter Pro-Q 3 and Waves R-Vox for vocals Photo: Blake Ezra July 2023 / COMPUTER MUSIC /  51 manon grandjean / interview <

one which frequently finds a place on Manon’s chains: “To bring things forward it’s absolutely great. Universal Audio UAD plugins also are used a fair bit, I use the Tube-Tech CL 1B, the LA-2A, the Culture Vulture. A standard one that I always use is the Black Box Analog Design HG-2 – I use that a lot to get really great punchy, beefy drums. I try to not get too absorbed by new plugins. I do have days where I try out a load of new different plugins and some stay, some don’t. It’s a nice way to refresh your way of working. When it works though, why change it?” Ark vs RAK Though Manon is comfortable with her new computer-oriented setup, she still reflects fondly on the recording studio environment. “I worked in a place that used to be a commercial studio called State of the Ark studios in Richmond. When I started at Livingston I had a few freelance sessions over there. Then I got an in-house position at State of the Ark, so I was there for five years doing pretty much all the sessions. It was a boutique studio, full of vintage gear. I loved working there.” The famed RAK Studios is somewhere that Manon also spent a great deal of time, and she fondly regards it as a favourite. “I learned a lot there. There were four different studios with a lot of great outboard gear and consoles. The people were great. A studio is a lot more than “How you are in the room, interacting with people is as important as your technical skills” just the equipment. It’s the vibe of the staff who work there. That really reflects when clients are coming in and things are running smoothly. Our job is to be human as well, beyond the technical side. How you are in the room and how you interact with people is just as important as your technical skills.” Mix it all along In the 14 years that Manon has been working in the professional sphere, she’s witnessed a blurring of the lines between some of those essential studio roles. “Production, engineering and mixing are quite blurred. When I was a recording engineer, what we’d send as a production mix was actually a fully mixed track. We’d never send something that was a bit all over the place in terms of levels. I would spend a lot of time getting the mix right, even if the song wasn’t completely finished or chosen by the artist to work on. We’d still spend time on the mix to make it sound as good as possible. We kind of mix it all along really.” “Now I’m an external mixer, what’s being sent to me is already at an advanced mix stage. I can’t Manon’s mixing chains typically feature Plugin Alliance Black Box, Tube Tech CL 1B and Soundtoys Little Radiator. “When it works, why change it?” 52  / COMPUTER MUSIC / July 2023 > interview / manon grandjean

Photo: Hannes Bieger July 2023 / COMPUTER MUSIC /  53 stray that much from the production mix, it just has to be a more enhanced version of it. Most of the time the effects are printed in the stems, so the changes that I am making on stems are not as drastic as they used to be in the mixing process. It’s just sonically enhancing it and making sure you’ve got the clarity and the punch. Producers do so much to get it to that final level.” We ask Manon what it was that prompted her recent mixing focus, and what she’s learned from this new vantage point? “At the beginning of lockdown I switched to mixing. It was a conscious choice but also a lot of studios were closing because of lockdown. Because I couldn’t do any recording I decided that I might as well fully focus on mixing. At the beginning I didn’t have a studio outside of my house. I had a home setup that was quite basic. I was all in the box. After the first lockdown ended I was able to get out and find a space and set up a studio properly. I got my speakers and equipment in place.” Though she’s now got an external studio, Manon still enjoys the option of working from home: “I feel like I worked in the house so intensely during lockdown that I’m really comfortable there. I never really used to work that much on headphones before but using them during that time allowed me to zoom in on details a lot more. Now I mix 50/50 on speakers/ headphones. Headphones are my comfort zone. I would typically start a mix on speakers with broad balance, panning and levels in place, then I would switch to headphones to do my automations and really zoom in on clicks and those kinds of things. Then I’d go back to the speakers to hear the full picture.” But, Manon stresses, it’s vital that you know your headphones and speakers’ distinct qualities before relying on them completely. “The consumer will listen to your track on headphones every bit as they will listen on speakers so it’s important you work with both listening experiences in mind.” Future-proof As for the future, Manon is quite content developing her skills as a mixer: “I’m really happy mixing and mastering and being in my own little bubble in some ways. The future is unknown but I love mixing and want to carry on doing that. I want to be a trusted figure that people respect to tackle their mixes. I do want to do a lot more albums. I really love doing a body of work. When you do an album you develop a little bit more of a relationship with the artist. As a mixer now, it’s difficult to create that link because I’m not seeing the artist that much anymore. Sometimes we’re communicating on email, so it’s a bit more impersonal. When I was engineering I was in the room with the artist. So that’s been a change. Manon spent five years at State of the Ark studios, working on most of the sessions. “I loved working there,” she recalls manon grandjean / interview <

Acclaimed by the industry, Manon is now keen to expand into the world of spatial audio 54  / COMPUTER MUSIC / July 2023 I do miss building that connection sometimes. It’s just a different mindset I guess.” Grandjean is potentially up for taking a step into the spatial audio world, however. “I want to maybe expand out into spatial audio mixing in Atmos,” Manon says. “I’ve been thinking of ways to switch it up a little bit. I’ve been using the same setup for the last three years or so. I feel like I need to do something different. I’ve recently worked with FLO – the winners of the Brit Award for Rising Star. I really love them, they’re great. I do a lot of work with Island Records so I also worked with Miraa May, Arrdee. I try to keep projects varied as well, to keep things fresh and exciting.” In terms of recent work, Manon points to the two records she submitted to the MPGs this year as particular high watermarks. “The first album is from a Canadian duo called Milk & Bone. They are a really great electro pop band. Another album that I’ve mixed is Interiority by Fyfe & Iskra Strings. That’s a bit more experimental, quite orchestral and cinematic. So I would suggest people check those out.” In terms of guidance, Grandjean accepts that over the last decade the routes into the industry have changed somewhat, but she still favours the in-person approach: “Now there’s not that many studios left but also those that are aren’t really offering those [internship] positions. I know RAK still does because that’s a big structure. If you are happy to start at the bottom of the studio ladder, it’s a great way to get into the industry. You learn the technical skills as well as learning about the music business. I also think working with one person exclusively like a producer or songwriter is another potential route.” Manon’s passion for her chosen field is evident with every answer she gives, yet she remains modest and somewhat in awe of the place she finds herself, standing tall beside her contemporaries. “I’m really honoured that people recognise that what I’m doing is not that bad! Everyone has those feelings of self-doubt. There’s been those occasional thoughts that maybe I should be doing something else. The recognition reassures you a little bit.” Stormzy, Big For Your Boots bit.ly/cm_stormzy Dave, Black bit.ly/cm_dave HEAR MORE www.twitter.com/manongrandjean4 www.instagram.com/grandjeanmanon www.manongrandjean.com WWW Photo: Blake Ezra > interview / manon grandjean

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Awarded to products that challenge existing ideas and do something entirely new If the product exceeds expectations for its price, it will receive this gong In the opinion of the Editor, the best product reviewed in the magazine this month A product has to really impress us with its functionality and features to win this one 58 CHERRY AUDIO MERCURY-6 Another stratospheric new softsynth from Cherry Audio, this time for Jupiter-6 lovers 60 JMG SOUND RETRONAUT The new release from JMG that’s more than just another conduit for nostalgia Our promise We bring you honest, unbiased appraisals of the latest computer music products. Our experts apply the same stringent testing methods to all gear, no matter how much hype or expectation surrounds it. 1-4 A seriously flawed product that should be avoided 5 This product’s problems outweigh its merits 6 A decent product that’s only held back by a few flaws 7 Solid. Well worth considering 8 Very good. A well-conceived and executed product 9 Excellent. First-rate and among the best you can buy 10 Exceptional. It just doesn’t get any better than this! What the ratings mean Sonora Cinematic Harmonic Bloom Polyverse Supermodal 70 77 68 Soundware Digit Music Cmpsr controller Image Line FL Studio 21 Toontrack EZ Keys Synthwave 66 76 62 W.A. Production KSHMR Reverb Spectrasonics Twisted Trees 72 74 July 2023 / COMPUTER MUSIC / 57 reviews < The latest computer music gear tested and rated!

Barely a month passes without the resurrection of another classic synthesiser in plugin form, but as we know very well, some provide more accurate sonic interpretations than others. Although, surprisingly enough, there are still some vintage classics which remain relatively untouched. The 6-voice classic The Roland Jupiter-6 is one such synth, reconstructed here in the guise of the Mercury-6. As with all of Cherry Audio’s classic recreations, the attention to detail and styling is exemplary, with an inviting interface which is incredibly exacting, but with a few added extras, bringing the ol’ Jupe into the computer age. One benefit of modern technology is that this Mercury is capable of 16-note polyphony. You can set your voice count from 2 to 16, with the ability to compile and detune voices in Unison mode, which makes for the most colossal sound, as 32 oscillators pile on top of each other. It’s a far cry from the limited six voices and 12 oscillators of the original. We wanted to put the Mercury-6 through its paces, so we lined the new pretender up Cherry Audio Mercury-6 $69 Cherry Audio’s latest softsynth arrives from the orbit of Mercury, with vintage stimulus from one of the biggest gas giants of them all alongside an original Jupiter-6 from the late ’80s, and ran some tests. Exacting standards Beginning with the tone of the oscillators, these were absolutely identical across all waves. The only subtle difference appeared to be a slightly brighter tone in the upper harmonics of each wave, caused by the wide open low-pass filter. This is pretty de rigueur for digital facsimiles of the old classics, partly due to the modern pitch of software, but could also be down to ageing circuity in an ’80s synth. Either way, the filter OSCILLATORS The perfect coupling of two VCOs per voice PRESETS Access the 500 included preset patches VCF Choice of three fixed-state filter types TEMPO Tempo lock LFOs and the arpeggiator to your DAW ENVELOPES Two envelopes, with ENV-1 providing numerous modulation routings OVERSAMPLING Oversampling quality control, to suit your computer’s CPU ASSIGN Voice assignment, for extra polyphony or stacking in Unison mode PERFORMANCE Performance control of pitch and modulation, mirrored in software EFFECTS Back-end collection of effects, with delays which lock to your DAW’s tempo 58  / COMPUTER MUSIC / July 2023 > reviews / cherry audio mercury 6

performed admirably too, across 24dB low and hi-pass modes, and the crunchier 12dB bandpass mode. Cutoff fader positioning was not entirely identical, but the actual sound remains mightily impressive, demonstrating an undeniable original spirit. These exacting tendencies even extend to the envelope phases, where the timings of the attack, decay and release phases were beautifully mirrored at around the 18/20 second mark. Despite these lengthy timings, there’s a feel of the exponential in the software faders, making it easy to dial in the required phase timings, especially when it comes to the snappier end of business. Interfacing Cherry Audio always supply a standalone mode, which means that you can easily get lost in the synth, with no distractions provided by the DAW. The onboard arpeggiator adds plenty to the charm, with a healthy contingent of back-end effects providing standalone character. You can choose from distortion, phaser, flanger/chorus, delay or reverb, making it ideal for live use, if you like to take your laptop out on manoeuvres. Talking of laptops, the interface could easily fill your screen, and while parameter access is very easy indeed, Cherry Audio has included the brilliant Focus Mode. This immediately zooms into a specific area of the panel, zooming out again, with a second click. It’s such a simple idea, and we kind of wish that it was standard on all plugin synths. Quality costs As a production-ready plugin, Cherry Audio has done a sterling job; the installation download includes 500 desirable presets, which will have you up and running in no time. However, we Verdict For The standalone version invites enormous creativity Focus mode makes close-inspection editing a breeze 500 included production-ready presets Incredibly attractive price for such a powerful instrument Against No negatives, just a whole ton of plusses! If you enjoy an uncluttered signal flow with a plugin that exudes nostalgia and contemporary flare, this is a beautiful synth for all seasons 10/10 Alternatively Roland Jupiter-8 $149 (part of Roland Cloud) The Jupiter-6 isn’t currently in Roland’s Cloud-based lineup, but the Jupiter-8 runs a close second UVI JP Legacy €199 (or part of a SonicPass sub) UVI’s expansion and sample-based library provides examples of the Jupiters 4, 6 and 8 The Jupiter-6 is one of the classic synths of its age, and has often been overlooked. Perhaps because it came some years after its bigger brother, the Jupiter-8, adopting a build quality which wasn’t quite as bullet-proof as its older sibling. But the 6 also benefited from a number of developments ahead of the 8, the biggest at the time being the inclusion of MIDI. This led to Roland getting a name for its products’ ease of use and this classic workflow has been ported over in this new release. Hence, its representation in software makes it a perfect synth to use. It’s simple to follow, but no less of a powerhouse and no less effective. Yes, it’s capable of classic (if perhaps dated) ’80s sounds, but it’s also accomplished in a modern domain. This means that you can easily create contemporary patches without the feeling of having been blindsided by the route that you took to get there. Drops of Jupiter Get in close to fine-tune those dials and knobs, thanks to the Focus mode The actual sound is mightily impressive, demonstrating an undeniable original spirit really enjoy the speed of initialisation and creation which is available with this plugin, and with an interface that is this inviting, it’s hard to resist. If you are running a slightly older machine, the oversampling mode can reduce CPU loading. Scaled between 1 and 4, the highest quality is exceptional, with only a subtle loss in fidelity if lowered. Regardless, this is one of the best vintage reissues we’ve ever seen in software, at a great price to boot. Web www.cherryaudio.com Among the bigger features, Cherry Audio haven’t neglected to also emulate the original’s ease of use July 2023 / COMPUTER MUSIC /  59 cherry audio mercury 6 / reviews <

A wise man once said “the past is another country, they do things differently there”. In the world of music production, this sentiment rings exceptionally true. The way that people used technology to not just record, but to shape their music was wildly different to what we have at our disposal on our hard drives today. As with the majority of vintage hardware, effects units suffered from the limitations of their format – crackle, hiss and signal degradation was rife. While old-school gear might have technically been superseded, the mark it left on some of music’s most beloved moments has meant that people still seek to resurrect those long-lost ‘qualities’ and add them to their 21st century tracks. We’ve seen no short supply of such plugins in the lo-fi domain, but JMG Sound’s Retronaut might just be our new favourite. Whilst doing what it says on its aged tin ably, Retronaut’s deep filtering and soundaugmenting abilities mean it’s also a colourful option for shaping fresh, modern sounds. The chips are down On a surface level, Retronaut is a multi-voice vibrato and chorus plugin with additional lo-fileaning effects. Imparting the character of the old bucket brigade analogue delay chips, cassette tapes, the crackle of vinyl and the wow and flutter of tape, alongside the degradation of quality served by multi-generational transfers (or keeping the tape locked in a cupboard for a few decades). The UI is pleasingly straightforward, with the four main control knobs – Modulation, Mix, LFO and VCF – sandwiched between the Degrade JMG Sound Retronaut $95 Promising to infuse the crackle of yesteryear into your tracks, Retronaut goes beyond its lo-fi headline to deliver thrilling sound-shaping abilities strip on the left and the Diverge strip on the right. The Mod section’s central Vibe dial tailors the rate of modulation for the base vibrato effect. The Mix control’s tentpole is the Voices control, which allows you to bring in more voices and develop the vibrato into a meaty chorus effect, the two-shaped (sine or triangle) LFO section sports controls for the Rate with independent high-pass/low-pass modulation. The VCF (filter) section is easily assignable to your external controllers, allowing for more performative movement-tailoring. One of the biggest joys of Retronaut comes from finding those sweet interlocking spots when these four primary controls turn your sound into something altogether cooler. Depending on what source you’re applying Retronaut to, the results can vary wildly. We EDITOR’S CHOICE UPPER SWITCHES Use to A/B, Limit, Undo or Randomise all parameters LFO Tune the shape, rate and frequencyspecific speed of the LFO PRESETS Scroll the preset folders to find a starting point VCF A pair of virtual analogue highpass and low-pass filters DEGRADE Dial-in the lo-fi effects like Dirt, Warp, Flutter and Fail DIVERGE Use these dials to offset Retronaut’s voices, and spread across the stereo field MOD Affect the modulation depth, with sub-controls for high/low-pass filters MONO Click this to convert the signal into mono MIX Increase the number of voices and morph into a fully fledged chorus effect 60  / COMPUTER MUSIC / July 2023 > reviews / jmg sound retronaut

stuck an instance on a lightly saturated bass loop, and by decreasing the Vibe, cranking in some LFO, adding more voices, and applying the Spread control in the Diverge section, we were blown away at how alive this otherwise stilted riff became. This Diverge section allows you to offset the four voices in a range of ways with the Spread control shifting the LFO phases across the stereo field, crafting the illusion of a far thicker sound. Other controls include Lag, which can act to make things a little bit queasier by introducing a time delay, and Phase which allows you to go in for more discreet warbleshaping. Movement and colour Further experiments with a dry acoustic drum loop and a (fittingly old-school) sequenced arp were similarly smile-inducing, with both sonic movement and tonal colour being lifted into a higher plane. Our arp started off fairly bleepy and neutral-sounding, but adding a few extra voices and some light modulation suddenly made it come to life. As you can probably tell, our interest was seized by the frankly unexpected sound designshaping potential here, but it has to be said, those lo-fi Degrade strip options are top-notch, from the click and noise of Dust and Dirt, to odd pitch drops and unexpected glitch-outs that the Fail dial introduces. There’s also the ability to switch your whole signal to mono, should you want to really take a leap back into the past. We had great fun with Retronaut, and it’s likely to continue sitting on many of our signal chains as a speedy way to bulk up and characterise duller track elements. While we’re Verdict For A quality way of injecting that lo-fi sparkle (or lack of) Also a superb sound-design tool Interface easy to get to grips with Presets show Retronaut’s breadth Against Hey, some people want to leave the past where it is! A gleaming new addition to your sound design arsenal, and an easy conduit for bringing in some mechanical grit 9/10 Alternatively Waves Retro Fi $29 Waves’ old-school sound shaper has some deep abilities, and a weighty library of lo-fi tones AudioThing Noises £35 Noises lets you add vintageflavoured experimental blasts with a satisfyingly deep control set If you’d rather leap straight into what the plugin has to offer rather than getting to grips with the tool’s specifics yourself, Retronaut has got a huge array of presets to get you started. There are several conveniently arranged banks, nicely divided into labelled folders which span Chorus, Verb, Vibe, Redux and the alluringlynamed Xtra. Within each, suggestive labels such as Night Moves, Fire Blanket and Old Times succinctly describe (or try to, at least) the aural effect that each will take upon your sound. As with all signal-chain plugins, it’s fun to A/B each in turn, often hitting upon interesting characteristics which you can then use as a springboard. Retronaut has you covered on the A/Bing front, with two switches in the upper left of the interface which can be swiftly flicked between when comparing two states of the plugin; that’s good for when you’re taking one of those preset sounds off into a new direction, and want to refer back to the source. While the presets in themselves ably demonstrate the extreme ends of what the plugin can achieve, it’s really worth taking things into your own hands 99% of the time. Golden oldies The Retronaut’s “pleasingly straightforward“ knobs Likely to sit on many of our signal chains as a speedy way to bulk up and characterise duller track elements not exactly lacking in vintage-angled software in our collection, the sound-enlivening qualities that JMG Sound’s latest bring to the table make it far more than just the nostalgia-machine the company promised. Web www.unitedplugins.com Retronaut’s presets are a great demonstration of what can be achieved July 2023 / COMPUTER MUSIC /  61 jmg sound retronaut / reviews <

Cmpsr (pronounced ‘composer’) is an intriguing controller from UK-based Digit Music, made in Derby, no less, influenced by music and game controllers, and the accessibility needs of users who might need something other than ‘traditional’ MIDI controllers. Cmpsr breaks ground by being the first MIDI instrument to receive the Tech4Good Accessibility Award. Seeing as the worlds of education and accessibility have such a lot to offer music control designers, we were interested to see how well the joystick-centric Cmpsr fits the bill. The package contains Cmpsr, USB cable, four rubber adhesive feet, and a printed card with QR code for quick access to online material: tutorials, a bundle including Bitwig Studio 8-Track, and a collection of loops and samples. Maybe we expected something more like a Nintendo-type game controller, but Cmpsr is surprisingly large. However it sits well in the hand, being pleasantly curvy, and feels tough Digit Music Cmpsr £299 A hardware controller that merges accessibility, music, and gaming practices into something everybody can use… with a very large joystick! enough; maybe they should’ve called it Chnky. The top panel features the joystick, and eight backlit RGB buttons, while beneath there’s a small power button and USB-C port. Cmpsr has an enjoyable retro British TV feel; you could imagine it popping up on a 1970s or 1980s episode of Doctor Who. At first look, we weren’t clear what the rubber feet were for, until Digit Music explained that Cmpsr’s cardboard packaging can be folded into shape as a table-top stand. This is a costJOYSTICK By default the joystick is the main source of notes USB OR BLUETOOTH Connect via USB or Bluetooth to send MIDI to your computer BUTTONS These buttons can be user-assigned to perform different functions SUSTAIN BUTTON Toggles sustain on and off, for a more piano-like sound CHORDS Press button 4 to enable chords instead of notes EXTENSIONS These two buttons enable more extended chords, and inversions PROGRESS Moving the joystick around will cycle through notes or chords OCTAVES AND SEMITONES These buttons can transpose your notes and chords in octaves or semitones STURDY Cmpsr’s construction is both strong and durable 62  / COMPUTER MUSIC / July 2023 > reviews / digit music cmpsr hardware controller

effective and environmentally-friendly way to provide a stand. No driver installation is required, so you can simply connect Cmpsr to your computer or tablet via USB, and it shows up as a MIDI source in the software. We tried Cmpsr with Ableton Live and GarageBand on macOS 13.2.1, and with iPadOS apps including GarageBand, Drambo, and Cubasis, without issues. Cmpsr also works as a Bluetooth device, in which case it needs to be charged first, via any USB outlet. Software instrument loaded? Let’s play. Moving the joystick from the centre to the outside sends MIDI notes, with each point on the ‘compass’ playing a different note. At first it feels counter-intuitive to send notes from a joystick, instead of using it as an X-Y controller, while the buttons are used to change what the joystick does; pressing button 3 for example, toggles sustain on and off, while 4 activates chords, 5 toggles extended chords on and off, and so on. Although Cmpsr works fine hand-held or on the cardboard base, there’s the optional Perform Pack, which includes a hard case, and a RAM Mount, which screws into the bottom of the device, providing a clamp which can be attached to table, stand, chair, or anything else; this is probably the best option for long-term use. Even without a software editor or display (although we’re told an editor is coming), Cmpsr is highly configurable; button combinations access different behaviours, anything from changing the root note, scales, and chords, to octaves and semitone transpositions. The whole device can even be ‘flipped’, for anybody who wants the joystick and button positions inverted. There’s no evidence of any latency in wired or Bluetooth modes, and the truth is that the time it takes to move the joystick (which also Verdict For A supremely tactile experience The joystick is a unique method of performing music Very solid and reassuring build quality Against Expensive Some features are not implemented at the launch date Although Cmpsr is expensive, it’s reflective of the build quality and the obvious thought that’s gone into it, and we look forward to future updates 9/10 Alternatively Nintendo Wii Remote Approx. £15 on auction sites Technically obsolete now, but still totally viable as a Bluetooth MIDI controller, and freely available on your favourite auction websites ODD Ball £109 Another example of contemporary out-there control solutions, ODD Ball is a MIDI controller that literally bounces with energy Cmpsr is available to purchase on its own (£299 inc VAT), but there’s also the Perform Pack, for an additional £100 inc VAT, which includes a bright orange foamlined waterproof/dustproof moulded hard case, and a multi-position RAM Mount with clamp. Like the Cmpsr itself, all of these items are properly heavy-duty; RAM Mounts (www.ram-mount.co. uk) is a company that specialises in providing sturdy mounts for phones, tablets, radios, and GPS to name a few. The mount attaches to the bottom of Cmpsr, using the provided screws, and from there on the Cmpsr can be attached to more or less anything, from a wheelchair to a table, to a mic stand. In the folded position we also found that the mount worked well as a table-top support in its own right, or as a substantial hand grip if you prefer to pick it up. If you don’t need such military-grade support, the standard cardboard/foam packaging that the Cmpsr comes with can be folded into shape and repurposed as a table top stand. Hold it, clamp it, use it Cmpsr looks retro but has a unique, modern workflow Could be a boon for people with limited movement, as well as for any curious producer or performer sends velocity, by the way) is the most important factor in timing. We enjoyed reviewing Cmpsr particularly as a Bluetooth device, wandering about, triggering chords. A joystick-based system like this could be a boon for people with limited movement, as well as for any curious producer or performer. Use it on its own, or put it on a table next to your Ableton Push, Akai Force, or a MIDI controller keyboard, and they’ll fit together nicely. Web www.digitmusic.co.uk Cmpsr is a groundbreaking device that can bring music control to everybody July 2023 / COMPUTER MUSIC /  63 digit music cmpsr hardware controller / reviews <

Image-Line’s FL Studio DAW had a naming upgrade with last version 20 that might have confused some users. v20 was actually v13, but changed to 20 to celebrate the DAW’s 20th birthday back in 2018. Five years on and the latest version 21 should therefore be called FL Studio 25? But, whatever, the main headline is that the DAW remains a free update, no matter what version you bought into (yes, even for those lucky v1 risk takers back in 1998 when it was called FruityLoops v1.0!). v21 has significant updates to workflow, plus some lovely extra plugins, but let’s have an overview first. The original FruityLoops was all about loop creation and then putting together songs from those, and that more modular way of composing has stayed with the software. FL Studio has always placed the main compositional features within their own environments – mixing, arranging and looping, for example – meaning the overall feel can be more disjointed. Still the core looping side is excellent, intuitive and inspiring – maintaining the ‘instant creation’ ethos that stems from those early days. Version 21 has several workflow additions that actually help bring the overall composition Image-Line FL Studio 21 £85 to £409 FL Studio 21 is not celebrating a birthday, as the previous version did, but is introducing some significant additions to this most popular of DAWs targets together; they make it perhaps a little more traditional in terms of DAW structure, but still retain the excellent and unique feel that the many (many) FL fans love. Some of the additions we discuss are for different versions which we’ll specify, but do check our ‘Comparing FL Studio Editions’ box to the right of the page for what else you get with each of the four different editions. 21 in detail The first big upgrade is an improved browser that lets you preview samples better. It comes NEW BROWSER Features new auditioning features, tags and favourite options LOOPING Even on v21, the looping area will be familiar to anyone who was lucky enough to use v1.0! NEW THEMES Here’s the new Themes tab that lets you choose different UIs, shading and colours MAIN MENUS Everything is accessed via these dropdown menus, including the all-new themes under the Options menu NEW REVERB This new LuxeVERB only ships with the All Plugins version, for example MULTIBAND DELAY Another new plugin lets you set up delays across your frequency range LIGHTER MODES We’re not totally convinced about these lighter options but they’re there to try NEW PLUGINS There are some great new plugins with FL Studio 21 but not with all versions 64  / COMPUTER MUSIC / July 2023 > reviews / image-line fl studio 21

with an improved search, allowing you to tag favourites, so overall you can search more quickly, audition more easily and even buy extra third party samples and presets in a more straightforward way. This might not sound major but some DAWs still take you out of their environment to try out new sounds, so this feels that bit simpler workflow-wise. The ability to crossfade and blend individual audio files is another addition that works better in practice than it sounds, largely down to how easy Image-Line has made the processes. You can very quickly add fades and volume changes on individual clips, again not requiring you to jump into another window as with some DAWs. New plugins include Multiband Delay (in Producer Edition upwards) that splits delays across bandwidth with ease. LuxeVERB is a beautiful reverb with a visualiser to help add envelopes to your reverb for a variety of effects (’80s snare for example). It’s only with the All Plugins edition but it will make you consider the upgrade. Vintage Phaser (Signature upwards) is modelled on a 1970s guitar pedal, so delivers everything from disco wah to synth Jarre. And VFX Sequencer is a great plugin to get your filtered arpeggiations going. Other existing plugins have also had some significant facelifts. Ever fruitful While the plugin enhancements are great, they are not included in every version so it feels a little over the top to base all of our concluding thoughts on them. And, really, a lot of v21 is about the workflow improvements. You even get big options to adjust the screen colour and project hue which could aid your workflow more (although the white version is not really for us). Verdict For Great workflow improvements UI theme change options Varied buying editions New plugins are great Against …but not all of them ship with every version FL Studio 21 is a slick update to one of our most established DAWs and with that lifetime of free updates, it should be a new platform for you to consider 9/10 Alternatively Ableton Live 11 294 » 9/10 » from £319 A solid update to another DAW that has been with us for a surprising length of time. Similar loop ethos Reason Studios Reason 12 302 » 8/10 » £499 The DAW and plugin still acts like a rack but has an easy and fast workflow like FL Studio Like most DAWs, there are different levels that you can buy into when it comes to FL Studio. The headlines are that the cheapest Fruity edition delivers a lot of instruments and effects – some 84 of the total of 111 – but has no audio recording. It’s a significant omission but, at just £85, it’s a decently-priced intro. The Producer version (£164) adds this audio recording, a couple of editors and seven plugins. We can see why it’s said to be the ‘most popular’ version, as it delivers a great balance of everything for the cash. The Signature edition adds a video player, extra Newtone audio editor and eight plugins for a not insignificant £255. Finally, top of the pile is the All Plugins edition which has all 111 plugins. You’re paying a lot extra for these – over £150 – but they’re some of the best titles, including the Drumaxx, Toxic Biohazard and Morphine instruments and marvellous LuxeVERB reverb. We’d probably still opt for Producer option though. Comparing FL Studio editions The browser now lets you audition sounds with ease and you can tag your favourites for easy retrieval later Overall you can now search more quickly, audition more easily and even buy thirdparty extras And on that score it’s a fine update: slicker, more refined and easier to use. FL Studio remains one of the most widely used DAWs for very good reason and with its free upgrades, it’s a DAW switch you could make for life. Web www.image-line.com We had the All Plugins version of FL Studio 21 in for our test so got the incredible LuxeVERB, but we’re not convinced it’s quite worth the price hike. The Producer Edition is a great option July 2023 / COMPUTER MUSIC /  65 image-line fl studio 21 / reviews <

Many things in life are assured; night following day, and paying your taxes to name but two, but we could also mention Toontrack, who reliably create useful products and expansions, for their ever-popular band-in-aplugin software. Riding the new Synthwave This time, it’s Synthwave that gets the Toontrack treatment, with the release of two expansion packs designed to fulfil your every whim, at least in terms of ’80s synth and drum sounds. The branding ‘EZKeys Synthwave’ pretty much tells you everything that you need to know, but what’s less clear is how far you can go with this expansion. You’ll need a copy of EZKeys, to act as host for this pack. If you don’t own EZKeys, there is an option to buy the application alongside the expansion, and of course once you have it, you can access all of the other EZKeys libraries. The EZ remit is to assist producers or musicians, who are looking for inspiration in both sounds and phrases. Bizarrely, MIDI phrases do not ship with this pack as standard, meaning that you’ll be reliant on your own Toontrack EZKeys Synthwave & EZX Expansion $79/€89 Want your track to sound like it was birthed in the technicolor 80s? Toontrack are on hand, transporting us to when synths ruled the waves stylistic performances, or need to spend an additional €29 on the associated Synthwave MIDI notes and phrases pack. However, the expansion pack itself is filled to the brim with classic ’80s synth sounds. All sounds are categorised by menu, including basses, keys, leads, pads and more. There is a guitar category, but these are all synth-derived, with chord thrashing removed at source. The sonic quality of the content is excellent, being drawn from a plethora of vintage ’80s synths, ranging from analogue Roland Jupiters, to digital and FM-based Yamaha DXs. It’s all MENUS Library and synth patch menus MORE MENUS EZDrummer’s extensive menu selection FINE-TUNE Control of velocity amounts INSTRUMENT Swap out or edit a specific drum or instrument TRANSPOSITION Controls at octave, semitone and cent-increment levels LIBRARY/KIT SELECTION with access to other EZDrummer libraries BASICS Basic backend effects and editing controls, alter with your chosen patch EXTENDED INSTRUMENTATION Such as shakers and claps MIDI BROWSER for creating chords and song structures SONG CREATION EDITOR for compiling drum tracks on-board 66  / COMPUTER MUSIC / July 2023 > reviews / toontrack ezkeys synthwave & ezx expansion

production-ready but with limited access to editing. Edit controls and parameters are patchdependent, reflecting the chosen sound. You’ll generally have access to a global low-pass filter (cutoff control only), delay and reverb, with the occasional appearance of chorus or the release phase from the envelope. One thing we did notice is that the filter pot operates in reverse to what you might expect; when to the left, it’s open, and to the right, it’s closed! Drum-waves The ideal companion to EZKeys is the Synthwave expansion for EZDrummer 3 or Superior Drummer 3. You’ll also need either of these two packages in order to install Toontrack’s EZX expansion libraries. It may not surprise you to learn that this pack also contains a vast array of sounds, sourced from electronic drums and drum machines from the ’80s. Linn drums reside next to 808s and 909s, with 440 fully produced sounds which are ready-to-go. The 20 mix-ready kits are also accompanied by MIDI content; it’s a useful startpoint to select one of these kits, and then run the associated MIDI track, indicated by the same track and kit name. It’ll give you an instant ’80s feel, with minimum hassle. Within EZDrummer, you can also swap out different drums or other elements from within a kit, and while EZDrummer offers a basic amount of editing, Superior Drummer provides far more capacity for editing and controlling drum sources, such as control over a drum’s envelope. Cutting the mix The mixer page provides plenty of options for refining a selected kit, although for our money, the sounds are a cut above the average collection of electronic drums sounds, packing plenty of punch, albeit with a very stylised ’80s slant. Verdict For Great-sounding collection of synth and drum samples Good diversity of keyboard sounds Sounds are produced to perfection Ideal for getting ideas down quickly Against No MIDI content included with EZKeys Synthwave Synth sound editing is lacking Given the popularity of Synthwave, these expansions are on-trend and sound fantastic, with a ton of sonic diversity EZKeys Synthwave – 8/10 Synthwave EZX – 9/10 Alternatively Roland Cloud subscription from $2.99 per month Reincarnates all of the classic drum machines and synths in software, albeit without MIDI content Arturia Analog Lab V €199 Some of the finest vintage and current synth sounds around, all collated into a single plugin The EZKeys and EZDrummer lineups have developed immeasurably since initial releases. EZKeys is an exceptionally useful aid, for anyone that requires better keyboard parts, whose fingers just cannot muster the required notes. In much the same way, EZDrummer provides great sonic content, coupled with groove templates which may be generated by machines or humans, with the latter bringing groove to the DAW-shaped table. Where Toontrack have made great strides is with the ability to build entire tracks, within their plugins, allowing editing of notes onboard. This can be especially useful for analysing parts, and muting or removing elements which might be surplus to your requirements. Either way, their onboard content runs happily in their standalone versions, or will sync perfectly to your DAW, should you wish to merely operate in sync. You can also transfer the MIDI directly to your DAW, if you want to keep all of your notes housed within a single environment. Flexibility is very much the name of the game here, and Toontrack have you covered for all eventualities. Standing alone The Synthwave EZX Expansion includes matching MIDI drum grooves, to accompany the 20 production-ready kits Two expansion packs designed to fulfil your every whim, at least in terms of ’80s synths Playing in pairs These two expansion packs could be regarded as another completed tick on the Toontrack to-do list. Notably, the sonic content is exemplary, across both expansions, but the lack of sound editing, particularly within the EZKeys domain, might prove challenging to more seasoned synthesists. Web www.toontrack.com The mixer page allows plenty of drum control, at the instrument level July 2023 / COMPUTER MUSIC /  67 toontrack ezkeys synthwave & ezx expansion / reviews <

Nowadays, software developers really have to think outside the box to come up with something new. More importantly, it also needs to be something sufficiently different to what’s bundled with our DAWs to tempt us to part with our cash. Sonora Cinematic has been out of that box for a while, most famously coming up with the Dronar range of weird and wonderful atmosphere instruments. That, and other titles like Magnetism, are ideal for cinematic and atmospheric tension, and Harmonic Bloom (for Kontakt Player) is too, although it’s probably the most emotive of their titles thus far. The initial description makes mention of the likes of harmonic theory, noise sources and sonic extraction and you’d be forgiven for initially scratching your head. You might even ask whether the developers have gone too far in their pursuit for something new. In fact, though, the theory is quite easy. Make some noise You get two layers of sounds to play with as sources: Noise and Main. Blend these together first (see box for more on the source samples and instruments), then mess with the Sonora Cinematic Harmonic Bloom £119 Bloom is all about extracting harmonics and chaotic waveforms based on noise… but fortunately, it’s a lot better than that sounds harmonics, add some choice effects and then some modulation. It’s essentially a samplebased synth with some added harmonic twists on top. With this harmonic side of the sound design you get one fundamental note slider and seven others for seven harmonics. You then start extracting the harmonics from the noise by raising each slider to start creating pitches and chords. It’s a little like randomisation in reverse. Start with chaos, end up with order. That’s the theory anyway; albeit with our simplified explanation added. LAYERS The Noise layer here and the Main option below can be blended NOISE/PITCH More noise, more pitch, your choice as this accentuates the resonance of the filters MODULATION Click here to open a modulation page with options to alter each harmonic and more PRESETS Choose from 100+ sounds from various categories as drop-down menus LAYER SOURCES Drop-down menus here and in the Main layer let you choose core sounds EFFECTS Click here to open up a delay and dreamy reverb for instant atmosphere HARMONICS A magnificent seven sliders to adjust levels of harmonics and create rich tones 68  / COMPUTER MUSIC / July 2023 > reviews / sonora cinematic harmonic bloom

The software creates the harmonics by using band-pass filters at the correct harmonic intervals, thus creating more orderly pitch results from the core chaotic sound. A slider lets you adjust between noise and pitch (wet and dry if you like, although it’s more about increasing the resonance level of the band-pass filter at each harmonic point). You can hear it best in action by playing a single note with all seven harmonic sliders set at zero and that fundamental note plays alone. Then you can simply increase each harmonic for more chordal and richer pad-like sounds. Blooming Extras Harmonic Bloom gets even more interesting with some added extras. There are on-board effects – including a dreamy reverb and flexible delays – and extra modulation options. Here you can alter pan, volume, the harmonic filters and the noise/pitch parameters. Notably each harmonic can be modulated by LFO frequency and depth so you can get some very complex movement going very quickly. Better than all of this, though, is the ability to load your own samples in each layer (you can use a specific slot in each one) so you can go as deep with the sound design as you like. The end results, then, can go wherever you wish, though there’s no doubting Harmonic Bloom’s ambient leanings. Some pads are straight off an Eno album (or are an Eno album!) and pretty much all of the supplied 100+ presets are about atmosphere and emotion. You get big lush sounds and cinematic soundscapes, and although the remit within that is pretty wide, you won’t be using Bloom for minimal techno (unless it’s the dreamy ambient strand!). Verdict For Lovely sound Surprisingly quick to get results Loading in your own sounds is great Lush, dreamy, and very atmospheric Against A little too focussed Heavy on the CPU Harmonic Bloom carves its niche incredibly well but can go further if pushed. Really though, if you want your sounds from dreamland, then this is your go-to plugin 8/10 Alternatively Slate + Ash Choreographs £249 Bigger and more expensive plugin that uses layers and 400 samples for very atmospheric sounds Orchestral Tools Drones €189 OK, it focuses on drones – clue is in the name – but you do get extensive control and editing The two layers in Harmonic Bloom that can be mixed as your main source are Noise and Main. 30 ‘flavours’ of noise are included for the Noise layer (selected from a drop-down menu) and these range from insects to machinery, analogue and digital noise to woodland field recordings. Obviously these ‘real’ recordings give the instrument a proper ‘ambient’ feel in the traditional sense of the word – ambient used to be more about ambient noise than electronic music. There are 50 sampled instruments in the main drop-down layer and these consist of synths (lots of them) plus the odd horn and guitar, and add more of a pitch to the sound rather than random noise. There’s a good variety of each type of sound in both the Noise and Main layers, so you could, with the right mix, get some very varied sounds. In fact, we’d recommend really pushing these combinations for more extreme results. We love the ambient presets on offer, but you can go off this road if you experiment. Bloom’s layers Click on the icon at the bottom right hand corner to open both the effects and modulation windows for more tweaking You won’t be using Bloom for minimal techno (unless it’s the dreamy strand of minimal techno) Bloom will appeal to a certain producer who wants emotive soundscapes. It is heavy on our laptop (an M2 Air) with lagging after selecting layers, but that aside, Bloom is a great tool that gets you to dreamland in an instant. Web www.sonoracinematic.com Click on the drop-down menu for either the Noise or Main layer (shown above) and you get to choose one of the core sounds. You can also load in your own sound into one each of these locations July 2023 / COMPUTER MUSIC /  69 sonora cinematic harmonic bloom / reviews <

Filters have come a long way. We recall interviewing some of the early drum & bass producers (so early it was then called jungle) and they used hushed tones when talking about their use of these filters, sometimes not even admitting that they were behind those liquid beats and basslines. Now filters are used for just about everything: from precision EQing to tension-building risers, bassline mangling to crazy vocal effects. There are straight filters that do one job well, and multi-effect filters that do everything in as crazy a way as possible. Or there’s Polyverse’s Supermodal which mostly stands alone and could be the most inspiring filter you’ve ever used. Super models Things start off in a fairly straightforward manner with the left-hand dial of the two main controls on Supermodal’s UI. This one is a straight filter that can be switched between low pass, high pass and band pass. You can make swirly noises and it sounds great – all good so far. But the Modal filter to its right is where the main action is, and here you can switch between modelled filters. Each of these uses complex Polyverse Supermodal $99 By using 27 models – ranging from physical bodies to maths formulae – Supermodal could well be the filter you didn’t know you need algorithms essentially comprising of hundreds of different filters that, according to Polyverse, “produce resonating modes in an acoustic model”. Some of the models are fairly simple like a square wave, and others are based on ‘real’ things like the Bell and Piano models and introduce those types of sounds into the filter characteristic. Others are more complex and unreal, like the band limited noise filter, and there are also some vocal-type formant models. There are other familiar controls and features, including input and output levels, a Wet/Dry slider and Blend control to mix BLEND Mix between the two filters with this control FILTER MODELS These graphical shapes show the filter model and you can scroll through them using this virtual trackball MODULATION Six main modulation source categories DRIVE Adds a bit of grunt and attitude to both filter inputs MAIN BLEND The Dry/Wet is the main control to define how much of both filters’ effect is used EXTRAS The Damping and Partials sliders home in the area of filter effect SEQUENCER Choose your rate plus a variety of Shapes and Patterns RESONANCES A standard slider for the left hand filter plus a Decay slider for the Model filter 70  / COMPUTER MUSIC / July 2023 > reviews / polyverse supermodal

between the two filters. There’s a Resonance slider for the first filter and a Decay option for the Modal filter with similar properties. Then you get other more custom options. Damping effectively reduces higher frequencies while the Partials slider acts like a band limiter in that you can choose what part of the filter’s effect range you want to use. There’s also a Drive option that pushes both filter inputs plus Xform that blends between filter transformations. Modal results While Supermodal prides itself on those 27 filter types – and these do take it well beyond what most other filters offer, it’s really their combination with the modulation section (see right) that impresses us the most. The results can be heard most obviously through the very wide-ranging set of well over 200 presets which are categorised by their effect (Subtle, Dirty, and we love this: ‘Artsy’) or simply ‘Drums’. There’s a bit of everything here from the deepest, dubbiest, most swirling delays, to melancholic reverberated note sequences, all from a simple input source. What we love most is that a rhythmic element keeps many of the presets inspiring (you’ll want to create entire basslines, breaks and leads with the results) but also kind of ‘in check’ so that everything falls well within usable parameters. Indeed Supermodal has taken us by surprise with its more classy results which somehow manage to be usable and not too gimmicky – a big issue with some of the more creative filters out there. That combination of filter algorithms and modulation options is a perfect and easily manipulatable marriage and takes Supermodal to another level where few others have reached. Verdict For Great animated interface Deep sound design tool Fabulous modulation options both inspire and surprise Impressive filter models …and presets! Against Nothing negative to report, it’s fantastic Supermodal is everything a good creative effect should be: inspiring, deep, not too complex or gimmicky. In short: amazing 10/10 Alternatively UVI Shade $129 A creative filter that has powerful dynamic effects via a range of different filters and modulation Soundtoys FilterFreak 2 $149 It’s been around for years but has a unique character and sound which makes it a firm producer favourite Supermodal’s extensive modulation section – similar to that used in other Polyverse plugins like the Manipulator vocal effect – really gives the plugin its edge. Here you get up to four sections where you can choose from six main modulation sources including sequencer/LFO, Meta Knob, envelopes, Random or external MIDI/CV. Once you choose a source, a very cool Supermodal feature adds a small Modulation Pop-up Button to any main parameter that can be a destination so you can easily apply, say, a sequencer pattern to a variety of destinations. Of the main sources, we’re particularly smitten by this Sequencer which lets you easily select rate, shapes or patterns for any source and really does create complex and dynamic sequences, all kept in time should you wish. We also like the Random option which is very flexible, with rhythm and pitch options plus a depth control so you can really go off road. Some great modulation options overall! Super modulation Once you’ve assigned modulations sources, a Modulation Popup Button appears next to available destinations What we love most is that a rhythmic element keeps many of the presets inspiring and ‘in check’ It really is a case of playing a couple of notes or beats through this beast, and creating entire tracks from them. You might not know where you’re going, and there will be twists and turns, but what a creative journey you’ll have. Web www.polyversemusic.com The four modulation options are at the bottom of the screen. As you can see, we’re particularly taken with the Sequencer option which adds dynamics and life to any sound you throw at it July 2023 / COMPUTER MUSIC /  71 polyverse supermodal / reviews <

Internationally renowned music producer KSHMR has released his first reverb plugin with W.A. Production and with it, comes a gamut of unique features. KSHMR has built many of his reverb tricks into the plugin including reverse swells, transient softening and removal, as well as side-chaining. The layout of KSHMR Reverb is straightforward, and the features are clearly laid out. Across the top panel are the Reverb Types, including Hall, Plate, or Spring. There’s a dropdown menu that grants access to a wide variety of the main man’s presets. KSHMR Reverb includes standard reverb parameters like diffusion, pre-delay, width, length and size. The Mix Knob is a special feature and the modes can be switched by clicking Mix. Mix mode controls the balance between dry and wet volumes, and Reverb Volume mode controls only the reverb volume. When the reverb volume is increased, the Dry signal stays at 100%. This mode works in a similar way to sending the Reverb to a return signal. There’s a De-Esser, Mod Depth and Mod Speed for controlling the intensity and speed of fluctuation of reverb. W.A. Production KSHMR Reverb $49.99 Globally acclaimed music producer KSHMR collaborates with W.A. Production to deliver his first reverb plugin with many distinctive features In the Middle Panel, there’s an EQ for shaping the overall sound, the Ducking Threshold, which catches the peaks of the waveform, and the Gate Threshold which catches the lowest points of the waveform. These thresholds tell the effects in the bottom panel when to activate. One parameter that was noticeably missing on both Thresholds is a numeric value. Ducking hell/heaven What really makes KSHMR Reverb stand out from other plugins are the effects in the bottom panel. Full Duck is similar to putting a REVERB TYPE Select from Hall, Plate or Spring GATE Silences the reverb when it drops below the Gate Threshold MIX KNOB Switch between Mix and Reverb Volume Mode SOFT TRANSIENT Lowers the transients of audio entering the reverb DUCKING/ GATE THRESHOLD Tells the effects in the bottom panel when to activate TONAL RESET Restarts the reverb every time a new transient occurs FULL DUCK Lowers the reverb volume whenever audio is louder than the ducking threshold REVERSE Continuously raises the reverb volume until another transient is detected FADE-IN DUCK Lowers the reverb volume at the start of each transient OCTAVE Adds an octave harmony of the audio to the reverb 72  / COMPUTER MUSIC / July 2023 > reviews / w.a. production kshmr reverb

compressor on the reverb that’s side-chained to the main sound. This feature can be useful when used on instrumentation. For example, when a piano part plays, the reverb will drop down in volume and be audible between the chords. The amount that the reverb’s volume is lowered is controlled with the Full Duck knob, and the Release knob controls how long it takes the reverb to fade back to normal volume. The difference between Fade-In Duck and Full Duck is that Fade-In Duck occurs at the initial transient of a sound and fades back in as the sound plays. Fade-In Duck will sound more natural to the listener. Reverse reverb is used to create swells that glue a melody together. Reverse reverb rises until the next transient occurs and it creates a swelling effect by increasing the volume of the reverb tail. Tonal reset Tonal Reset is a feature that we really found helpful in cleaning up the reverb in a mix. Naturally, when a reverb is long, the reverb bleeds into the next notes in a chord progression. Tonal Reset detects the transients and restarts the reverb every time a new transient occurs. Soft Transient is useful for eliminating harsh attacks from the reverb and creating a more tonal sound. We recommend using it on synths or plucks. Gated Reverb is a classic effect that’s especially useful for snares and can be used to tighten up reverb tails. The Gated Reverb can silence the reverb when it falls below the threshold and the release can be adjusted to make it sound more natural. Pitched Reverb can be a cool effect and we were happy to see the Octave feature included. Octave adds an octave harmony pitched up or down 12 semitones to your signal. This lets Verdict For Exceptional effects for creating reverb Against No numeric values on Thresholds A great-sounding reverb with creative and unique effects for music producers. KSHMR Reverb streamlines all of his secret reverb techniques in this easy-to-use plugin 9/10 Alternatively FabFilter Pro-R £144 or $169 Superb sound quality, including multi-second special effect reverbs and lush ambient and slap-back Eventide Blackhole $199 With more than 50 presets, it’s very simple to use and covers areas of differing sizes If you’ve watched any of KSHMR’s reverb tutorials, you know that he’s got plenty of reverb tricks up his sleeve. The legendary producer has streamlined his production processes by including his favourite reverb techniques in KSHMR Reverb. Mix Mode is an innovative feature, it allows the user to toggle between modes. Mix Mode controls the balance between the dry and wet volumes, and Reverb Volume mode controls only the reverb volume. Reverb Volume mode works in a similar way to sending the Reverb to a return signal, and allows users to add just a touch of reverb to their sound. Where KSHMR Reverb truly shines is in the Effect Section. Full Duck, Fade-In Duck, Gate, Soft Transient, Tonal Reset, Reverse and Octave effects are included. Each of these effects allows users to craft a distinct and unique sound for their reverbs. When applied correctly, these effects can inspire and create new atmospheres that will make your productions stand out. KSHMR Reverb is definitely a studio time-saver, as it’s quick and easy to use these creative and well thought-out effects to make something unique to your taste. KSHMR’s secret reverb techniques The plugin’s big selling point is its bottom panel containing the Volume Manager parameters among other sections What really makes KSHMR Reverb stand out from other plugins are the ducking effects in the bottom panel producers thicken the timbre of instruments and create richer, more complex sounds. So, overall our fun experience with KSHMR Reverb gives us no qualms about declaring it a great-sounding reverb that would be a welcome addition to any producer’s toolbox. Web www.waproduction.com Renowned producer KSHMR built the plugin around his own process preferences July 2023 / COMPUTER MUSIC /  73 w.a. production kshmr reverb / reviews <

Spectrasonics holds one of the loftiest reputations within the realm of samples, sound design and virtual instruments. It’s behind some of the most radical sampling projects ever captured, from trips to the Amazon, to burning pianos. Its relatively new creative line, Sonic Extensions, provides amazing sounds with vast amounts of realtime control, all categorised by expansion pack. Following the initial release of four Sonic Extensions, the latest extension arrives completely out of the blue, as a sole release. All of the Sonic Extensions operate from within the Omnisphere realm, so you’ll need that meaty synth to access your new sounds. That could make an initial purchase more involved, but then again Omnisphere is one of the most sonically impressive packages on the market, so this might just be the prompt you need. Spectrasonics has an impressive roster of sound designers; Diego Stocco is the sound designer behind the Twisted Trees collection, with the raw sampled content being created entirely from wood, bark or associated Spectrasonics Twisted Trees Sonic Extension $149 If you go down to the woods today, you’ll be surprised to find a sounddesigner not so much hugging trees as hitting and twisting them! elements, such as branches and leaves. At this point, you might be wondering (as we were) how far can this actually go? The answer is immediately forthcoming, from the moment you access the patches. It is incredibly impressive, although you might have to take a leap of imagination, as many of sounds require a slight adjustment to work in your projects. Stripping bark To provide a flavour of the direction and process, Diego created one sampled source by THE DIRECTORY Choose your required library or Sonic Extension from the drop-down MIX AND BLEND The constituent elements can be controlled by faders INSTRUMENT MENU Helpfully categorised menu, to guide you to your sound BIG SPACES Linked to the new Twisted Space effects unit, for impressive ambiences GOING MULTI Omnisphere is 8-part Multitimbral, allowing layering too PATCHED UP The patch menu, always on display IN THE MIX The Multi button accesses the mixer, for effects and more CREATE A SCENE The Scene buttons are memories of the blended sample elements GETTING TO THE ROOT Add sub-harmonics, using the new Twisted Root effects unit FILTRATION AND MORE Useful editing parameters for each sound 74  / COMPUTER MUSIC / July 2023 > reviews / spectrasonics twisted trees sonic extension

stripping the bark from a tree, applying it to the rim of a floor tom, which was then mounted on a potter’s wheel. As the drum and newly attached bark revolved, large sticks were dragged across the surface, while the audio was captured. The result is a highly complex sound-source which, once placed through the prism of Omnisphere, returns a multitude of organic midto-low-end frequencies. Other similarly exotic processes exploit the use of percussion mallets, power tools and string bows, creating a suite of 432 soundsources through 1.8GB of samples, packaged into more than 300 unique patches. Once we delve into the Omnisphere realm, the patches themselves contain scenes; these are mixes or combinations of multi-sampled elements, combined to create a texture or patch, but with capacity to switch quickly, or adjust individual sample levels. Despite the relatively narrow wood-based concept, the output from Omnisphere ranges from beautiful and majestic pads, to heavy and floor-shaking percussion. There’s even a percussion patch, which presents an extraordinary kit of wood-based parts. Of course, the power of the Omnisphere engine is incredibly influential across the library. There is a depth and quality to the colourful timbre that is unique, but the usual menu hierarchy is still in full effect, with a complex combination of sequencer-based patches, hits, noises, pads and textures all available within. Final forest thoughts The sonic identity of this Sonic Extension is as unique as it is impressive. It won’t come as a surprise to existing Spectrasonics users to learn that the company prioritised quality in the making of Twisted Trees. The question though, for any prospective purchaser, is whether these sounds resonate Verdict For Incredibly diverse collection of sonic colours Percussive textures give plenty of punch A great deal of onboard control All-new Twisted Root and Twisted Space effects units Could easily influence creative direction Against Veers into experimental realms, which might not suit your sound Libraries of this calibre are relatively rare. Twisted Trees is a surprising package of astounding sounds from organic sources, that may invite you to question your musical direction as you use it 9/10 Alternatively Spitfire Audio Mercury £149 One-of-a-kind instruments, powered from the mind of Hollywood designer Chas Smith Soniccouture Geosonics II £179 Forests, wind, ice and more, all from raw recordings made by legendary recordist Chris Watson Eric Persing is the creative and guiding force behind Spectrasonics. He is behind some of the most recognisable synthetic and sampled sounds of the last 35 years, which you’ll hear as much on ’80s pop records as you will in current Hollywood soundtracks. It’s fair to say that Omnisphere has mutated into a bit of a monster. It has morphed into a huge plugin format, which not only hosts the Sonic Extensions that we’re reviewing here, but also bass, piano and creative libraries. We’ve not even mentioned the unbelievably impressive core library, which hosts close to 15,000 patches, or the fact that Omnisphere provides hardware controller support for an impressive array of current and older MIDIequipped synthesisers. Imagine controlling Omnisphere from a Moog Sub Phatty or Roland Boutique module; this you can do! But alongside this impressive critique, it sounds utterly stunning, and has become one of the most widely used and versatile plugin synths on the market today, and it’s still being developed. If the prospect of Twisted Trees has piqued your interest, you’ll need Omnisphere too, and that could be one of the best purchases you could ever make. The Omnispehere collective Twisted Root and Twisted Space are two brand new effects that can be used elsewhere in Omnisphere patches too You may find yourself forced to rethink elements of your work and that could be a very healthy thing with you. Are they any good? Yes, but are they useful for everyday production? Possibly less so, although that’s dependent on your working style. You may find yourself forced to rethink elements of your work after trying this palette, and that could be a very healthy thing indeed. Meanwhile, for anyone creating soundtrack or ambient music, this library will immediately find its fanbase. Web www.sonicextensions.com Info Discounts available with multiple Sonic Extension purchases. Requires Spectrasonics Omnisphere 2.8 or higher Omnisphere presents menus in a more extensive format, to assist in locating your sound of choice July 2023 / COMPUTER MUSIC /  75 spectrasonics twisted trees sonic extension / reviews <

76  / COMPUTER MUSIC July 2023 > reviews / mini reviews Soundware round-up Loopmasters Havana Meets Kingston £39.95 This sample pack is a meeting of musical minds, as two distinct camps open their studios to each other. Australian producer, Mista Savona, brought 50+ vocalists and musicians together for the task and, over the 2.5GB of sounds, you get a sizzling fusion of genres and instruments, from some of the islands’ big names. Picks include the storm of funky rhythms provided by Cuba’s top drummer, Rodney Barreto and the crisp recordings were captured in Bob Marley’s own Tuff Gong Studios. Plenty of grooves to plunder. www.loopmasters.com n9/100 Audiotent Pure Claps £21 As part of their ongoing Pure series, the Audiotent team runs through its kit collection to deliver the best set of hits this side of Chris Rock’s cheek. These top quality claps have been wrought from the twisted circuitry of a veritable smorgasbord of iconic drum machines and vintage synths, with everything from the Hexinverter Mutant Clap, Jomox Alpha Base and Elektron Syntakt mined for its percussive gold. And, crucially, the results have been knowingly tweaked, tickled and processed to the nines, just for you. Clap-clap-clap, indeed. www.audiotent.com n8/10n Zenhiser Toned in F# £42 Highly considered library of top-tier drum sounds, perfectly presented in F#. Why? Well, the nigh-on 900 kicks, snares, claps, rimshots, toms, cymbals, shakers, cymbals and the like have all been handcrafted from the ground up in that magical key, to sit majestically in any arrangement or genre you dump ’em in. From jump up jungle to trippy techno, these expertly designed and processed hits will drop cleanly between the thickest bass and synth backings, anchoring any track and propelling it skywards. www.zenhiser.com n9/10n

July 2023 / COMPUTER MUSIC /  77 mini reviews / reviews < SM Essentials Essential Breakbeat Drums £12 You’ll get beats for weeks from this cool compendium of kick and snare parts, pulled with love from the Sample Market’s, well, sample market. Its top titles have been sifted for funky drumming, with vast and varied sounds originally found in packs like Breakbeat Experiments, Lunar Breaks and Leftfield Breaks finding a second home in this 300+ strong set. Full and stripped stems are included, making for some super flexible folders to have under one roof. And a cracking little port-of-call when you next need some tub-thumping trouble for your necksnap-lacking tracks. www.samplemarket.co.uk n7/10n Mode Audio Rusty Beats £18 Another phat and fabulous collection of layered loops and hits from the Mode Audio crew. The 200+ drum files comprise fully formed, hard-hitting workouts, and broken down punchy one-shot affairs, plus a gang of music loops, taking in ill synth sounds, chopped samples, bass melodies, and other gluey noise textures that could help give your soon-to-be slick drum programming some funky company. The vibe is ’90s boom bap, with hardware relics of that golden era. www.modeaudio.com n8/10n UNDRGRND Sounds Classic Jungle £24.95 Retro DnB vibes, awash with tower block dreaminess and pirate radio frequencies. Each jump-up drum loop will make you say ‘Amen’, as your subwoofers wobble with delight at the body-shocking bass. Classic studio gear from back-in-the-day gets rinsed, too, with Space Echos and the like fired up to add the authentic sonic quality you know and love. Fans of Photek and Bukem will be calling for the rewind on this one, as the metal-headed music makers from that golden age of the ’90s are getting their styles took. www.undrgrndsounds.com n7/10n Sound Ghost Delicate Piano £18 Haunting selection of gentle ivory-tinkling, inspired by the new wave of classical pianists you hear on moody Scandinavian TV and film soundtracks. The 130 dusty phrases and 50 one-shots and chords in this sumptuous set have all been recorded from an old upright piano, tempered with bits of felt to give them the touch and tonality that this pack’s title suggests. Picked up by two Aston Starlight mics, the textured 90-120bpm loops are great for adding ambience and melancholic funk to your production palette. www.soundghost.net n7/10n

78  / COMPUTER MUSIC July 2023 > reviews / mini reviews Bingoshakerz Jonk & Spook: Funky House Essentials 2 $19.95 The jackin’ house heroes are back with another party-packed stack of clubowning samples for like-minded production peeps. Classy piano chords and garage-style bass biz come at you head on, alongside classic dance claps and six-string riffs. Presented with aplomb in WAV and Rex2 formats, the nifty 500MB+ of quality grooves will keep your tracks looking fresh, just in time for summer. www.bingoshakerz.com n7/10n W. A. Production Evolved Trap & Dubstep $24.90 Sterling selection of next-level beats and bass with which to fuel your steppy trap slayers. Tucked away neatly in the five fully loaded construction kits are a fierce phalanx of song-starting sounds, primed for discerning dancefloors. Each borrows from the tear-out tricks and turns that big names like Skrillex take with their tunes, alongside the dreamy electro edge being pushed by producers like Virtual Riot right now. Besides these larger-than-life loops and solid gold hits, there are some tasty Serum presets and MIDI melodies to get your fingers sticky with. www.waproduction.com n8/100 Beatport Sounds Flowdan – Writer Blocks £29.95 In which the celebrated MC and producer top-ends his debut artist pack with some serious heat for the streets. Inside this heavy selection of sounds, the global grime figurehead hits us up with the kind of killer samples that have seen him stay at the forefront of the scene for all of these years. Monster low-end bass notes, spacey FX shimmers, crunchy drum hits, his trademark vocals, and other emotive and orchestral loops plus layers to lace your drill, dubstep or 140 flavours with. Welcome to London, indeed. sounds.loopcloud.com n8/10n Soundware round-up

July 2023 / COMPUTER MUSIC /  79 mini reviews / reviews < Goldbaby Layered Drum Machine Percussion $9 This sound design team have got previous when it comes to wonderfully layered drum machine sounds. Here, they turn their expertise to percussion, and you can feel the care and attention that went into each and every loop. Drawing from a pool of 30+ bits of classic hardware, they’ve whipped up grooves that’ll give your tracks a new lease of life. Everything has bags of feel and character, with each unique pattern giving off a richness and depth that you can only get after countless hours of layering and processing in the lab. www.goldbaby.co.nz n8/10n Sample Tools by Cr2 Neo Soul & Trap £15.99 or (300 credits) Heart-melting mood music, full of soulful Rhodes riffs, meets some precise percussion and thumping drum loops, with all of the samples in this quality collection straddling the tough and smooth camps with a grace and style that’s hard to fake. Dig deeper and you’ll find slick orchestral stabs, wonky vocal snatches, Summoner’s Travels-era Sting nods, and subs for days. Plus, six complete song kits, allow you to see under the hood of each of the brooding beats, as you cherry-pick the best parts for your next hit. www.sampletoolsbycr2.com n7/10n Loopmasters Outrun Waves £29.95 Sublime synthwave sounds, on the mellower end of electronica. Fans of Air, Zero 7 or early Bonobo – happy to cruise along with lo-fi atmospheres and thick, spacey melodics – will find much to admire here. Elsewhere in this 681MB pack, bare Balearic beats and lush, blissed out washes of warm front music sit pretty at 100 and 125bpm with a swelling mix of druggy drums, picky guitars, and moody arps helping move those in loose fitting clothing. It’s hands-in-the-air stuff. www.loopmasters.com n8/10n

Or get it from selected supermarkets & newsagents Ordering is easy. Go online at: The Beginner’s Guide to Music Production comes with exclusive access to all the software, plugins and video tutorials you’ll need to start making music. You’ll be recording, arranging and mastering your own tracks in no time! GET STARTED IN MUSIC PRODUCTION WITH OUR INTERACTIVE GUIDE ON SALE NOW ON SALE NOW MUSIC PRODUCER’S GUIDE TO MIXING

88 free samples DISTORTED AND MANGLED A fresh batch of roughed up sound sources this month, plus a classic pack 92 DL SYNTH AND MIX MASTERCLASSES Our experts show you how to make a synth-string patch and highlight the benefits of gain-staging when mixing free plugin plugin suite THE PLUGIN SUITE An in-depth guide to all of the plugins in our mighty collection can be found as a PDF alongside the download files free videos 82 MODALICS EON-ARP Get to grips with the amazing free arp-creator and sequencer Now with an all new download system! Visit our new-look downloads page for instant access to our plugins, samples, videos and files Free for digital readers, too! Read on your tablet, download on your computer Head to bit.ly/cm322downloads downloads downloads < Get started 01 Visitbit.ly/ cm322downloads. If you’ve already bought the mag (online or in print) scroll down to confirm your purchase via our quiz system 02 Click ‘Start Quiz’ and you’ll be asked a series of three randomly generated security questions to check that you’ve bought the magazine. You can now download the content 03If you enjoyed that issue, you can still purchase our back issues via bit.ly/ pocketmags–cm and downloads for those will be kept at filesilo.co.uk/computermusic Our famous suite of free downloads has now had an upgrade! New, simpler system with no account required New, quicker download speeds and easier access Same secure and safe access, from anywhere Same great content updated every month ALL NEW DOWNLOAD SYSTEM TRANSITION TOOLS

If your synth arpeggios just aren’t cutting it, this month’s giveaway could be just what you need The deals are coming thick and fast right now and this month we’re very excited to bring you two slightly different offerings from Modalics. EON-Arp is its creative arpeggiator. The plugin was initially free but now costs $29, and this month, for a limited time only, you can grab yourself an exclusive fully-fledged free copy from our Computer Music downloads link. The company’s previous plugin, Beat Scholar, is a highly regarded rhythm composer, and alongside EON-Arp this month, Modalics have been kind enough to also offer Computer Music readers an exclusive discount code. Once again, this is time limited, so get in there quick. In this tutorial, we’ll focus primarily on EONArp, showing you how to get up and running. We’ll then explain how it’s arranged and move on to look at what it’s good at. On the face of it, EON-Arp’s grid layout is similar to any number of arpeggiators, but as we’ll demonstrate, it provides an excellent environment to explore both melodic and chordal sounds, delivering a truly creative experience. That said, if you’re looking for some quick wins, there’s a varied library and each preset includes eight handy snapshots. Meanwhile, the onboard synth means that you can program your arps without routing EON-Arp to another synth. In our final walkthrough, we’ll turn our focus on Beat Scholar, showing you how this powerful beat creator provides a novel approach to beat division, helping create everything from simple beats to wonky mind-bending patterns. Finally, if you want to know more head over to www.modalics.com. MODALICS EON-ARP >Free software TOP BAR Load pattern presets, set the swing parameter and observe the synced BPM STEPS Define how many steps are in the grid and their length SNAPSHOTS Copy, paste, select and save up to eight snapshots within each pattern preset INPUT Choose whether EON-Arp uses a MIDI input or MIDI file input for note selection PITCH INDICATOR See which notes the arpeggiator is using TOOLBAR Select from cursor, pencil and velocity grid tools ARP GRID Edit the main arpeggiator grid pattern DIVIDE/ MULTIPLY Select how EON-Arp defines the number and length of each grid step MIDI FILE Choose from more than 100 MIDI files or import your own SYNTH Use the convenient onboard synth 82  / COMPUTER MUSIC July 2023

Download the accompanying video and the MIDI/audio files at bit.ly/cm322downloads July 2023 / COMPUTER MUSIC /  83 modalics eon-arp / free software < We’ve loaded up EON-Arp as an instrument. As mentioned above, you can also use it as a MIDI device routed to another softsynth, and to do so, check out how your particular DAW handles MIDI plugins. We’ve loaded the Wide Saw Bass onboard synth preset. To start, head to our new content service and this month’s page www.bit.ly/cm322downloads. With the current issue to hand, start the quiz and answer the questions. Once you’ve gained access, follow the instructions to find your personal Modalics EON-Arp serial number, then head to modalics.com to get your copy. 1 1 In the middle is the main arp grid and above it the editing toolbar. Here you select the pattern length, division value and also choose tool types. Meanwhile in the main area you can add, remove and copy 3 notes, adjust note positions, set note lengths and adjust velocity. EON-Arp’s interface has six key sections. Along the top you’ll find the main preset toolbar, which also includes the current BPM indicator and the Swing division and amount control. Below this are eight snapshots and these load as part of a preset. EON-Arp supports not only the typical plugin formats (AAX, AU, VST and VST3) but is also a standalone device and AU MIDI effect, with its onboard synth disabled on the latter. With the software installed, when you first open EON-Arp, simply drag your personal licence key file onto the plugin window to authorise it. 2 2 Bottom left you’ll find the chords section where you can set the main octave range, adjust transpose and pattern triggering settings and load MIDI files. Bottom right is the onboard synth, which is 4 a basic two-oscillator plus sub design with filter and delay effect. > Step by step 2. Familiarisation > Step by step 1. EON-Arp Installation

84  / COMPUTER MUSIC July 2023 > free software / modalics eon-arp For instant results, EON-Arp includes onboard pattern presets and note generation. To demonstrate these we’re using EON-Arp as a MIDI effect along with sounds from Dmitry Sches Thorn CM synth instrument. To get started, make sure the Input option on EON-Arp’s Chords section is set to External so you can play it via MIDI. 1 If you’re after something weirder, the Odd Meter and Get Creative folders have some pretty bonkers patterns. Meanwhile the graphic nature of the grid means it can be fun just drawing patterns. Here we’ve loaded up the Grand Adventure preset from the Graphic folder, which does just that. There are more than 100 onboard MIDI files that include single chord and multi chord options as well as a bunch of different scales. The latter are great for creating basslines. Here we’ve loaded the Minor MIDI file with the Stubby Funk pattern preset. As external MIDI is deactivated, we can use the Transpose option to set the key. 3 5 Now head to the pattern presets in the top bar. Try loading some examples. From the Basic folder try Downhill, which is ideal for chordal input. For single-note or two-note input, why not try some basslines such as Stubby Funk from the Bass folder or Tribal Disco from the Basic folder. 2 If you’d rather not program your own MIDI, EON also includes integrated MIDI file playback, with file import and a good choice of onboard MIDI files. To activate this mode, set the Input option in the Chords section to File. EON will then trigger the file in sync with DAW playback, following whichever grid note block pattern is loaded. For more complex sounds, try one of the multiple chord files. These are often spread over two or more bars. Here we’ve loaded up the 4-Chord - Time Capsule file, and combined it with a simple pattern preset (Downhill from the Basic folder). This creates a traditional arp sound with a four-bar chord sequence. 4 6 > Step by step 3. Patterns and presets

July 2023 / COMPUTER MUSIC /  85 modalics eon-arp / free software < Loading presets is fun but to take full control of EON-Arp and its flexible and creative approach, it’s important to understand how the grid works and how to edit it. To demonstrate this, we’re sticking with EON-Arp as a MIDI effect, setting it to External, along with Dmitry Sches Thorn CM from the CM Suite. 1 Firstly, time. You have two ways to define the number of steps and step duration: divide and multiply. These are chosen by clicking the divide/multiple icon. Multiply is simpler to understand. Here the ‘Step’ parameter defines the length of each step, meanwhile the ‘Steps’ parameter selects how many steps there are. Adding steps defines the rhythm of the arpeggiator pattern so if we use the pencil and add note blocks to all of our steps we have a straight 1/8th note pattern across two bars. Using the velocity tool, we can now adjust individual step velocities or lasso them to change multiple velocities collectively. 3 5 Selecting the divide mode switches the right hand parameter to Pattern. This is used to define the pattern length. Meanwhile the Steps setting now defines how many steps fit into that pattern length. In our example, our pattern of 4/2 with eight steps is effectively two bars in 4/4 divided into quarter-note steps. 2 Moving on, we’ve set our mode to multiply, step length to 1/8 and number of steps to 16. We have three tools to add and modify steps. The cursor can be used to add, move, lasso and copy steps, meanwhile the pencil offers a quick add and remove option. The third cursor adjusts velocity, which is indicated by block colour. By default, the note block position and length snaps to the grid. However, switch off the Snap option and you’re free to adjust position and length. Not only that, you can actually add more note blocks inside each grid space. We’ve done that here, with one two-note block playing in one step. 4 6 > Step by step 4. Understanding the note grid 

86  / COMPUTER MUSIC July 2023 > free software / modalics eon-arp So far we’ve not discussed pitch, however you may have noticed that when you play a single note, EON-Arp indicates that note to the left of its middle row. In fact, EON-Arp uses a relative pitch system, so it maps the input notes across the grid, filling the grid above and below the input notes for a total of 11 pitches. 1 You can, of course, input any notes, and if you stick with 3-note triads, you can chain together an arp part across a multiple chord sequence. As mentioned, the remaining note degrees repeat the input notes in different octaves. Here we’ve modified the note blocks to play a pattern picking out some of these octaves. Next up, try using some velocity tweaks to add more feel to the pattern. Here we’ve reduced the velocity on every third note block on the grid. This creates an additional rhythmic pulse to the pattern. In addition or as an alternative, you can add some swing, and options include 1/2, 1/4 and 1/8th note. 3 5 As a specific example, play a chord. Here our A minor triad (notes A, C and E) is listed up the left hand side. Now select note blocks for the middle, first and second degrees of the grid. Playing the 3-note triad now results in a 3-note arpeggio with octaves available both above and below. 2 Now try a more complex chord; here we have a 6-note chord. You’ll see the played notes take up all of the note degrees above the middle. Try playing or programming a sustained chord in your DAW, and then use the note blocks to pick out a bespoke arpeggio. Finally, try switching off the Snap option. You’re now free to tweak note lengths and positions to taste and this provides a further way to add feel. What’s more, if you’re not sure you want to change an existing pattern, then right-click on its snapshot in the top bar and copy and paste it into a fresh snapshot. 4 6 > Step by step 5. Pattern pitch

July 2023 / COMPUTER MUSIC /  87 modalics eon-arp / free software < Much like EON-Arp, Modalics’ Beat Scholar works as a plugin instrument, standalone application and MIDI effect, with its onboard drum module in the bottom right disabled in the MIDI effect. It’s best described as a rhythm composer, and offers a visually engaging approach to beat and pattern creation. 1 Patterns are built from one or more ‘Bar’ sections, and multiple patterns can be triggered to create complex arrangements. This is handled by the arrangement module on the right hand side and you switch modes using the Bars/Patterns button. Here you can copy, paste and rename patterns, and specify the pattern-triggering key notes. Each beat pizza can be divided to taste by grabbing the slicer brush, selecting a division from the drop-down menu and selecting a beat. You’ll see the beat is divided accordingly and you can assign any kit piece to any slices, adjusting velocity using the velocity brush. 3 5 We’ve loaded the instrument plugin. In the top bar is a pattern preset browser and toolbar. Below is the main pattern area. This includes up to 16 horizontal lanes where you program patterns which control the 16 kit pieces in the bottom left. These pieces have default note assignments but you can modify these assignments as required. 2 We’ve loaded an empty pattern. The note division is adjustable but here it’s set to 4/4, so each circle represents a quarter note. We can assign the circles (beat pizzas) to play any of the 16 colour-coded kit pieces. Simply select the coloured drum brush tool, select a kit piece and click on a beat pizza. To get more creative you can duplicate bars, adjust individual bar division, or use the randomiser tool on specific kit pieces, as we have here, to help create our additional tracks. This colour-coded, sliced-and-diced approach is highly intuitive, and a fun alternative to drum grid or piano roll editors when creating beats. 4 6 > Step by step 6. Beat Scholar - overview

Download all assets for this issue at bit.ly/cm322downloads Distorted and Mangled This month, we’ve smashed, crunched and tortured a number of sources to create two packs of gritty goodness. Download from bit.ly/cm322downloads “It’s all about the distortion, fuzz and muck this month, and we love it. We kick off with some vibrant beats thrown through lashings of fuzz and distortion of both hardware- and software-flavours. To push the envelope a bit further we also maxed out the settings and included a chunk of destroyed loops, these might work well for layering or just indulging in chaos. To cover the low end of things we broke out the TD-3 and the 303 (and clones). We ran the silver box through both fuzz and distortion pedals to really push the filthy squark and squeal. Alongside the TD-3, the classic Moog sound also appreciates a bit of roughing up. We also really love to let the wilder pedals in our armoury do their thing. The Catalinbread Antichthon fuzz is a favourite for this no-input technique as it happily spits out synth-like tones and self oscillation squarks. A big shout to the Holy Island Audio Rorschach with its twin fuzz and filter circuits and the new Boss SL-4 slicer.” More info on both sample packs within their folders… Distorted and Mangled 1 Robbie at Cyclick was chomping at the bit to start threshing up his synths, drum machines and more. Over to him… SELECTED GEAR Moog Mother 32 Arturia Mini V Behringer TD-3 Cyclik Bass Scrambler Electro Faustus Guitar Disruptor Parasit Studios Corruptor Raygun Youth Chaos Fuzz Buffchill Robodog Catalinbread Antichthon Death By Audio Robot Boss SL-4 Slicer SELECTED GEAR Squier Telecaster UA Starlight Echo Station Dreadbox Komorebi pedal Fairfield Circuitry Long Life Sandpit Scrambler Fuzz pedal Sandpit Pepbox Fuzz pedal Electro-Harmonix Memory Boy Xvive Memory Analogue Delay Keeley Fuzz Bender Moog MF Trem pedal Arturia V Collection synths “This sample pack serves up a set of distorted and mangled loops so you can throw some weird into a track, tuck behind more straight elements to enhance and create depth, or just mangle them further – should you be an aural sadist. The loops are split into six tempo groups, each containing beats, synth tone-drones, arpeggiations, guitar and electric piano. The beats, keys and synths were all processed with plugins, albeit in a suitably heavy handed manner. The guitar sound was mostly produced by the Telecaster and pedals, with just a plain amp emulation in Amplitube finishing the job, plus an EQ and limiter. Throughout pitch and delay modulation were used to do a lot of the mangling work, while distortion was gained in multiple stages either side of other processes, many of them quite subtle on their own but when combined create heavily saturated and blasted-out tones.” There are more details in Rob’s PDF in the Samples download folder at bit.ly/cm322downloads Distorted and Mangled 2 Oli at Groove Criminals’ fuzz-soaked offering is all about getting noisy, getting dirty and making beats roar 88  / COMPUTER MUSIC / July 2023 > your free samples / all-new samples

Classic samples Transition Tools As we’re exploring the depths of arrangement this month, we felt it was a perfect time to give our Transition Tools a second airing… In early 2017 we asked our trusty samplecrafters to assemble a suite of transitions, risers, swells and other arrangementbolstering goodies. We’ve made these available to download once again… Can you feel it in the air, readers? So can we: a change is coming. As economies falter, institutions crumble and hatred divides the world, many think we’re heading into World War III. And while we wait under our beds for a huge white noise swoosh and an equally massive impact, let’s spare a few moments to consider how life imitates art. Transitioning between sections of a song is at its most effective when you give your listeners an indication, and with this huge free sample pack, you can rain disaster down onto the established order and push your track into a new direction. Build up a wall of atonal noise, scorch the musical earth with big booming one-shots, and establish a new musical regime on the rubble of the old. These samples have been created by sample moguls Cyclick and Groove Criminals, and provided you still have a functioning electrical grid, they’re royalty-free for use in your tracks! Cyclick Robbie Stamp of Cyclick has provided plenty of whooshes and swooshes to get you in the mood for change you can believe in. They’re arranged in folders by tempo, but it doesn’t mean they won’t fit in any track – speed isn’t an issue when it comes to the wash of white noise. They’ve all been processed using top-end effects chains, which were changed up for each recording tempo, so no two transitions are alike. “Slap them in where you need,” says Robbie, “but do give them an extra push with more filtering, distortion, delay, reverb, stretching, pitching, and buckets of modulation.” You can call Robbie out about his ultrafascist sample categorisation policies on Twitter @cyclickbob. Groove Criminals Oli Bell’s filled his half of this month’s pack with synthesised sweeps and FX for you to dig around in, all stemming from some über-cool hardware synth sounds. “For these classic white-noise sweeps, I used a stack of analogue synths including the SH-101, SH-09, Juno-60, Novation Bass Station, and the MS-20 mini, along with a bunch of cool Eurorack modular gear,” Oli informs us. “Although we kept most of the analogue FX dry, we heavily processed the impacts and reverses so they were ready to be dropped into place with minimal tweaking.” All these sounds are well served for building high drama. TRANSITION TOOLS FROM THE VAULT 104 Monosynths ’n’ Stompboxes 24 Heavy Notch transitions 16 ‘Plosions’ 64 Noise-gen chains 32 Down Zaps and Fall Tones …and much more 504 EXCLUSIVE SAMPLES from the vault / your free samples < July 2023 / COMPUTER MUSIC /  89

Download all assets for this issue at bit.ly/cm322downloads Loopmasters 322 samples 01 Loopmasters Counterstrike Skullcrusher Drum & Bass 02 Element One Dark Drum & Bass 03 UNDRGRND SOUNDS BreaksTechno2 04 Loopmasters Nina Walsh WRF Lab Test 2 05 Mask Movement CinematicMiracle 06 IQ Samples Tech House Progress This month’s demo sample selection highlighting Loopmasters’ latest releases 90  / COMPUTER MUSIC / July 2023 > your free samples / loopmasters samples

Read the full article from p82 MODALICS EON-ARP Learn to craft rippling arps and swerving basslines with EON-Arp Download this month’s videos: bit.ly/cm322downloads Read the full article on p44 MIX MASTERCLASS GAIN STAGING SIMPLIFIED Read the full article on p40 SYNTH MASTERCLASS MAKE A RETRO STRING PATCH /experts Our resident music production gurus walk you through their specialist field every month 92  / COMPUTER MUSIC / July 2023

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96  / COMPUTER MUSIC / August 2013 ISSUE 310 August 2022 • Get Mix-Ready Vocals (Without a Singer) • FREE Hyperspace2 CM plugin plus three free sample packs • Create Aphex Twin pads and perfect wobble bass ISSUE 311 September 2022 • Essential Guide to Analogue Dirt • 2 FREE plugins plus 4330 samples • Interviews with William Orbit and more • Best tablets for music ISSUE 312 October 2022 • Delay Tactics – your comprehensive guide • FREE best ever compressor plugin plus 1000 samples • Sound like Kate Bush • Best piano VSTs ISSUE 313 Autumn 2022 • The Ultimate Beats Package including 3x FREE drum machines and 2600 samples • Exclusive interview with Kelly Lee Owens • Expert masterclasses ISSUE 314 November 2022 • Power Up Your Music For Less: budget production guide • FREE Audified IronVerb CM (to 5/4/23) • 2600 FREE Samples • Best budget interfaces ISSUE 315 December 2022 • Extreme FX: boost your creativity and perfect your sound • FREE T-RackS EQP-1A (offer closes 15/12/22) • 2750 FREE Samples • Deadmau5 interview ISSUE 316 January 2023 • Become a Synth Power User: 30 pages of tips • FREE XILS Lab 3 CM softsynth • 2,950 FREE Samples • Workshops: Sound Like Thomas Dolby ISSUE 317 February 2023 • Get Dynamic! Compression demystified • Bumper pack of 2022’s best CM plugin offers and samples - for FREE • Lykke Li interview ISSUE 318 March 2023 • Total Control! The latest in controller tech – and an interview with expressive control king Atau Tanaka • 2 bass plugins and 1150 samples FREE ISSUE 319 April 2023 • Make a Track Today – with free DAW and softsynth worth $79 • 2650 free samples • Bumper MIDI controller buyer’s guide • Cosmicat interview ISSUE 320 May 2023 • Write Modern Soundtracks guide • Free vocal limiter • 1308 free samples • Depeche Mode synth masterclass • Chace interview ISSUE 321 June 2023 • Build Your All-New Free Studio • FREE Halo 2 Lite synth • 1597 FREE samples • Inside an immersive audio compilation • Gryffin interview TAP A COVER TO SEE CONTENTS Tap ‘Buy’ to purchase BACK ISSUES Catch up with Apple Newsstand back copies – all of these issues include video and Vault downloads! *Individual offers may be subject to expiry or limited availability Integrated video and Vault downloads are available only from 182 onwards. See bit.ly/cmvaultfaq for more info on our Vault download system MORE BACK ISSUES AVAILABLE

On test Bitwig Studio 5, Zen Delay Virtual and many more… Perfect pop Pop-rock giants Joan on their streaming success Free samples Our team of samplemakers go down some unusual beat roads... > next month PLUS! Next issue WAVETABLE SYNTHESIS Next issue we’ll explain how to understand the science and application of wavetable synthesis. From the maths behind the concept, to making your own wavetables. With our guide, you’ll have all you need to become a true master of the ’wave! Get the best from your wavetable synths ISSUE 322 JULY 2023 Future PLC Quay House, The Ambury, Bath, BA1 1UA Tel: 01225 442244 Email: [email protected] Web: www.musicradar.com EDITORIAL Editor: Andy Price, [email protected] Art Editor: Mark White, [email protected] Senior Managing Editor: Kate Puttick, [email protected] Production Editor: Stanley Bull, [email protected] CONTRIBUTORS Jon Musgrave, Robbie Stamp, Oli Bell, Roy Spencer, Andy Jones, Dave Gale, Martin Delaney, Ben Rogerson and Sara Simms Photography: Getty Images, Shutterstock ADVERTISING Media packs are available on request Chief Revenue Officer: Zack Sullivan UK Commercial Sales Director: Clare Dove, [email protected] Advertising Sales Director: Lara Jaggon, [email protected] Account Sales Director: Kyle Phillips, [email protected] MARKETING Direct Marketing Campaign Manager: Will Hardy PRODUCTION & DISTRIBUTION Head of Production: Mark Constance Production Project Manager: Clare Scott Advertising Production Manager: Joanne Crosby Digital Editions Controller: Jason Hudson Production Manager: Fran Twentyman Printed in the UK by: William Gibbons & Sons on behalf of Future Distributed by: Marketforce (UK), 5 Churchill Place, Canary Wharf, London, E14 5HU CIRCULATION Head of Newstrade: Tim Mathers SUBSCRIPTIONS New orders: www.magazinesdirect.com / phone orders: 0330 333 1113 / email help@ magazinesdirect.com Renewals: www.mymagazine.co.uk / customer service: 0330 333 4333 / email queries: [email protected]. Computer Music (1463-6875 USPS 23910) is published monthly with an extra issue in September by Future Publishing, Quay House, The Ambury, Bath, BA1 1UA, UK. The US annual subscription price is $194.87 Airfreight and mailing in the USA by agent named WorldContainer Inc., c/o BBT 150-15 183rd St, Jamaica, NY 11413, USA Periodicals Postage paid at Brooklyn NY 11. POSTMASTER: Send address changes to Computer Music, Air Business Ltd, c/o World Container Inc., 150-15 183rd St, Jamaica, NY 11413, USA. Subscription records are maintained at Future Publishing, c/o Air Business Subscriptions, Rockwood House, Perrymount Road, Haywards Heath, West Sussex, RH16 3DH, UK. Subscription delays Disruption remains within UK and International delivery networks. Please allow up to 7 days before contacting us about a late delivery to [email protected] LICENSING Computer Music is available for licensing. and syndication. Contact the Licensing team to discuss partnership opportunities Head of Print Licensing : Rachel Shaw, [email protected] MANAGEMENT Brand Director, Music:Stuart Williams Content Director, Music:Scott Rowley Head of Art and Design:Rodney Dive Group Art Director:Graham Dalzell Head of Design (London):Brad Merrett We are committed to only using magazine paper which is derived from responsibly managed, certified forestry and chlorine-free manufacture. The paper in this magazine was sourced and produced from sustainable managed forests, conforming to strict environmental and socioeconomic standards. The manufacturing paper mill and printer hold full FSC and PEFC certification and accreditation. 98  / COMPUTER MUSIC / July 2023 2023 ON SALE WED 14 JUNE

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