![]() Compose songs without the need to read music or any experience in music theory.ĭepending on your Music Maker Edition, you can choose: 1 Soundpool Collection and 1 Soundpool (Plus Edition) or 1 Soundpool Collection and 3 Soundpools (Premium Edition).Īll you need is your mouse or a standard or MIDI keyboard to record captivating melodies full of feeling for your tracks. Loops are available in 7 different pitches and can be automatically adjusted to the pitch of samples that are already included in the track. ![]() And the best part: All the sounds fit perfectly together. ![]() These can all be easily combined using drag & drop functions, and it's easy to blend genres. Loops are included for all possible instruments – with full melodies, plus both female and male vocal passages and rap lines. Whether you want to make house, trap, EDM, '80s music or reggae, Music Maker has you covered.Ī Soundpool Collection includes several Soundpools, while a Soundpool contains hundreds of sounds and loops. A huge range of Soundpools from various music genres deliver unlimited sounds and loops for you to use. Ultra-easy, ultra-fast: Build beats in seconds. Create beats with melodies you've recorded on software instruments using mouse and standard or MIDI keyboard. Our Soundpools contain hundreds of thousands of sounds and loops from all genres that you can easily drag & drop to combine in the way you want. Making music is not rocket science – especially when you have Music Maker by your side. EASIER THAN EVER BEFORE MAKE MUSIC WITH LOOPS & INSTRUMENTS
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![]() On the downside, CPU usage can be considerable, particularly with the high resolution and oversampling modes activated. Gripes aside, AmpliTube Fender is IK's most convincing amp sim product to date, and it can produce so many new and old tones that you really are spoilt for choice. This is pretty lacking compared to some of the competition, such as Overloud TH1, which lets you control almost any combination of parameters via MIDI CCs, and jump to specific patches. There's also a MIDI implementation that's exclusive to X-Gear, but it only gives access to controls for preset next/ previous, stomp bypass, and volume/ wah/Wharmonator. X-Gear offers the same automation system as the regular AmpliTube: each module parameter (ie, knobs and switches of pedals/amps/effects) can be assigned to one of 16 host automation parameters. There are also presets that combine modules from multiple AmpliTube titles, although you'll need to own the particular editions used in a patch to load them up. X-Gear lets you access presets for individual elements (amp, cab, pedal, rack) as well as the full rig presets, and they're all categorised by product (Jimi Hendrix, Metal, Fender, etc). It is frustrating, though, that the effects are rigidly divided into pedal and rack categories - since there's no compression pedal, we'd love to be able to place the Compressor rack before the amps, but you just can't do it.Īnd you still can't reorder the effects, either, though if you use X-Gear (a free download for registered users) you can combine elements from different AmpliTube products to create monster rigs. Much like the pedals, the rack effects are only really the icing on the cake, but they're useful for certain effects, such as chorus and flanging. ![]() Overall, the Metalhead impressed us the least, but by contrast, the recent Super-Sonic is brilliant. Our favourite amp is definitely the '57 Deluxe, but each model offers something slightly different. The fun really started for us when we used AmpliTube Fender in real time with a Stratocaster - it successfully sculpted that potentially weedy Strat tone into all manner of rich, solid and distinctive sounds. Purely in amp terms, you're spoilt for choice, and while the pedal effects aren't very extensive, at least they're all good. Just dropping the plug-in onto pre-recorded guitars in a mix revealed plenty of recognisable Fender tones, from the thickness of the Bassman to the direct, punchy sound of the Champion 600 and on through the rich, creamy Twin Reverb. The Bassman 300 is a modern rig with graphic EQ and compression, while the TBP-1 offers a classic tube preamp with modern overdrive and EQ.įor a more contained, 'studio' sound for electric guitar, you've got the Pro Junior and Champion 600 amps, while metal maniacs should try the MH-500 Metalhead rig, which has a solid-state power amp.įinally, Fender's recent Super-Sonic valve amp gets a look-in, although only the Burn channel is included (the Vintage channel is absent). The other models offer broader capabilities, such as bass-specific amps. So, if you're after the full-scale classic valve-driven sound to couple with a Strat or Tele, you've got six great choices in the older units. The other six amps are more recent: the Champion 600, Super-Sonic, MH-500 Metalhead, Pro Junior, Bassman 300 and TBP-1 Bass Preamp. Half of these stem from Fender's rock 'n' roll hey-day and include the '59 Bassman LTD, '57 Deluxe, '64 Vibroverb Custom and '65 Deluxe Reverb, as well as the '65 Twin Reverb and Vibro-King Custom already mentioned. AmpsĬlearly, AmpliTube Fender's big draw is its amp emulations. You'll also find options for activating oversampling for pedals or amps and a high-resolution mode - inevitably, these carry an accompanying CPU hit. Of course, Fender has approved the sounds of the package, too. The company has also developed something called Volumetric Response Modelling (VRM), which has enabled it to capture the sound of the Vibratone Rotary Speaker. IK is keen to point out that AmpliTube Fender is its most accurately modelled package to date, citing extensive use of their Dynamic Saturation Modelling (DSM) and the recreation of each and every stage of the amps and effects. ![]() “It meant a lot to be a part of representing our school to Netflix. “Honestly, it was such a blast to be able to collaborate with such talented peers of mine at this school and it was so fast pace,” Patao said. She spent six hours in the studio one day recording vocals and about 15 hours on set. Leilani Patao, an 18-year-old senior who lives in Los Angeles, was one of the four main singers in the quartet. ![]() Tucker said the crew didn’t meet Miranda in person, but some of the main actors in his film sent kudos via a video. (Photo by Sarah Reingewirtz, Los Angeles Daily News/SCNG) We had so many extras on set, as well, it was just insane.” The cast and crew, from left, Vivian Wolfson, 17, Benji Tucker, 18, Randy Damas, 18, Sam Karpinski, 17, Liana Bartolome, 16, Leilani Patao, 18, Pascal Connolly, 15, and Elton McCrudden, 15, of Lin-Manuel Miranda’s “Louder Than Words” High School Edition, a piece for “tick, tick…Boom!” pose at LACHSA in Los Angeles on Tuesday, November 30, 2021. “I (now) understand that’s how real film directors like can work with such a large crew,” Tucker said. He said while the experience was challenging, it was also educational. “It was a (way) to feel things were getting back to normal, and we could work as a team again,” Tucker said. Tucker, an 18-year-old senior in the cinematic arts program from Tarzana, said the Netflix challenge was a great opportunity to shine the spotlight on the students’ work coming out of 20 pandemic months. There were students who never touched a professional camera light before and by the end of the day they were setting up sets like professionals. A recent graduate was brought in to fill the e directory of photography role. Upper students showed under classmates the ropes. We got to use all of our department’s resources … and brought in a recent graduate to be the director of photography … overall there was really a joyful air on set.” Usually, we spend months doing pre-production for a project of this scale and we only had one week to do it but everyone was super collaborative and all of our faculty was really ready to help us. “We felt really lucky to honor (him) in this project. “We wrote musicals in the past, so we took a lot of time to work on the visual story by going back and watching musicals that we love, which includes “Rent” (Jonathan’s Larson’s Broadway musical hit),” Wolfson said. The team, led by her and Tucker, had one weekend to write, budget, schedule, gather the crew and cast and anything else that goes into pre-production. Wolfson, a 17-year-old senior from Los Angeles, had a short window of time to show off the skills she learned in the previous three years. That was all we needed to put the battery in our back and make a splash with our submission.” “We have done collaborative projects with certain individuals who are already established in the industry, but for Netflix to come out and ask us to do something, we were honored and I think students rose to the challenge,” McClellan said. “Netflix’s contribution was the opportunity and inspiration and thinking highly enough of us to want us to be part of this special project. Andrew Garfield attends Netflix’s “tick, tick…BOOM!” New York premiere at Schoenfeld Theater on Novemin New York City. This is the first time the school, one of the top premier visual and performing arts high schools in the nation, worked with Netflix or any other production companies on this scale. Students had just under two weeks once receiving the assignment in mid-October to delivering the final cut. The crew and cast were masked for the entire shoot, except when the actors were on screen being filmed. Students lost a year-plus of on-set experience due to the deadly coronavirus.įor some, this nearly 6-minute video challenge was the first time they collaborated with peers in person and actually experienced being on a film set. “The fact Benji and Vivian were able to turn the script around within 24 hours not only does that (highlight) their talent and work ethic, but I think they had a lot of good practice throughout the pandemic in terms of working under tight deadlines.” “We wanted to create a video that we knew would be able to stand alone and Netflix could use however they saw fit and I think they used it beautiful(ly),” McClellan said. The duo slipped into the roles of co-producers, co-writers and co-directors. Benji and Vivian came up with the script and from there gathered the student crew, put the cinematic faculty around them to support them.” “We had broad conceptual strokes (Netflix) wanted to achieve. “Benji and Vivian wrote the script in 24 hours,” McClellan said. ![]() Drew McClellan, chair of the cinematic arts department at the high school situated on the campus of Cal State LA, reached out to two of his top students, Benji Tucker and Vivian Wolfson, to lead the project. |
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