Ben­e­fit from off­line pro­cess­ing by ren­der­ing groove shad­ows

Computer Music - - Contents -

In the last in­stal­ment of Dr Beat, I showed you how to cre­ate and process a live ‘groove shadow’ – ie, the re­verb sig­nal from one drum or per­cus­sion loop placed be­hind the dry sig­nal of an­other, mak­ing it feel as if the dry loop has been placed in an alien space, and de­liv­er­ing in­ter­est­ing rhyth­mic and tonal in­ter­play be­tween the two.

This time round, we’re go­ing to ren­der the groove shadow as a dis­crete au­dio clip, open­ing up fur­ther cre­ative pro­cess­ing, ma­nip­u­lat­ing and edit­ing pos­si­bil­i­ties that aren’t on the table when the re­verb is gen­er­ated in real time – ob­vi­ously at the ex­pense of be­ing able to shape the re­verb sig­nal it­self.

I’ll be pick­ing up di­rectly from where we left off in the pre­vi­ous tu­to­rial, so if you missed that one, I rec­om­mend get­ting hold of 241 (at bit.ly/CMU241) and work­ing through it first. You’ll learn how to set up the groove shadow re­verb, and shape it with com­pres­sion and gat­ing. I’ve sin­gled out one of the sev­eral groove shad­ows shown therein as the sole sub­ject this time round.

You can get the Tu­to­rial Files to fol­low along ex­actly, and you can grab a video ver­sion of the tu­to­rial at vault.com­put­er­mu­sic.co.uk. Read­ers of our iOS ver­sion can tap the first step to stream the video ver­sion. OK, so with­out fur­ther ado, let’s get started…


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