Recently I compiled an equivalencies for Native Instruments Guitar Rig 6 and I thought I’d complete the same list for the Logic pedalboard modules. Some of the observations in this are from this Reddit post but the vast majority are my own observations.
Guitar Rig is Native Instruments very own guitar amp and cabinet simulator. Much of their modules included in the software is an overt nod to a real-world amp, microphone or guitar pedal, however as they don’t own the copyright, many of the names are allusions to the gear they are emulating.
Tha is the second track from Aphex Twin’s Selected Ambient Works 85-92, a landmark ambient techno album released by R&S Records in 1992. Elsewhere on these pages I’ve deconstructed Xtal, but recently I transcribed this track for my Music Theory and Composition foundation students to demonstrate syncopation, and I thought I’d share it on this blog.
Get Down Saturday Night was a 1983 hit for Oliver Cheatham written by himself and Kevin McCord and released on MCA Records, peaking at #38 in the UK singles chart that year.
With my drafts folder brimming with 80% finished long-reads I thought it a neat idea to get out a really quick recreation of a classic Ibiza house record.
This article was originally published back in 2015. As with other well-read posts on this site, I’m trying to revisit some to tidy up some of the writing and audio and generally make them a little more professional.
Aphex Twin is the moniker of Richard D. James, a Cornwall native whose output spans three decades, releasing on such labels as Apollo (R&S’s ambient sister label), his own imprint, Replhex and of course British indie Warp.
At some stage or another, anyone who records in a humble home studio might want to move beyond the sound of an economy microphone and audio interface.
My production partner and myself have just completed our second sample pack together for Sample Magic and Splice titled French House 2. In this article I want to take a quick look in some detail at some of the production techniques that went into it.
Outside of EQ there isn’t an audio effect I reach for more often than the trusty compressor. Coming in all different flavours, shapes and sizes, no two compressors are the same and it’s one effect I find I can never have too many of.