ROB WARMOWSKI: One of the things that I like about Audiomulch is that it is a modular application, meaning that it provides you modules, which are little collections of technology, let's say, and these modules are arranged in a space. Here's the space and here are a couple of modules.

This is one module that's in every patch. It's called Sound Out. This is basically the pipeline out of Audiomulch and into the sound system for the computer, and right now we have one module out here and this is Drums module.[ And, we got it connected to the sound out and we can just hit play and hear what it's doing.

[ROB HITS PLAY ON AUDIOMULCH]

As its rolling there, we can hear up here little loud sounds, bring that down some, not peg so hard. One of the things you can notice here is that we have the Drums sequencer here. That's better for [INDISCERNIBLE]. In the drum sequencer here, we've got five tracks of sample playback. We've got kick drum, maraca, snare, and we've got double bass sample and another double bass sample, so you might wonder how is it possible to work on -- or let's say that I wanted to just EQ the bass, the two bass channels; I wanted to do something with -- to filter them or to EQ them, make them sound different. But inside the Drums module here, the Drums object, I don't have anything resembling a send or an insert or anyway that will work just on these two channels. How do I go about doing that? Well, Audiomulch, being a modular application means that you can get around this problem by doing a thing called cloning.

What we're basically going to do is we're going to take the Drums object here, and we're going to clone it, and in that clone, we're going to turn off the drums and leave the bass open, and in the original we're going to turn off the bass and leave the drums open, and in that way we've separated out the drums and the bass simply by creating two instances of the drums object and just using the mutes, which are right here, in order to accomplish that. So, let's do that right now. And in fact, before we do that, let's set up a mixer, which is very easy to do. Ask for a mixer here. We want a, I don't know, four-channel mixer for our purposes, that's M4, and let's redo our routing by deleting the existing connections. Of course, that will silence things because Sound Out is no longer receiving anything, and we'll run the output at the mixer to Sound Out, double click the mixer to bring up its actual object in the object window, and we'll bring up faders too.

One thing that Audiomulch -- people that are new to Audiomulch might forget about, I know I forget her all the time, is that objects come up with their faders down, and so you may be taken by surprise, expecting to hear a signal then you don’t. So, here's the mono mixer and here's the drums object. We're going to plug the output of the drums object right into channel 1 of the mixer, and here's our loop coming back at us.

Now again, we're still -- we're basically back where we started except there's a mixer in between the sole drums object and her output. What we're going to do next is we're literally going to clone or copy drums 1, we're going to paste it over here, and as you can see Audiomulch changes the name increments the integer here so we got drums 2 instead of drums 1.

First thing we're going to do in order to prevent confusion later on is we're going to rename these. Of course, Audiomulch allows you to label it whatever you want. We're going to call this one "drums only", and we're going to spell it correctly because that's what we do, that's how we roll. And, we're going to rename this one "bass only". Now, this helps us focus in on the actual objects and make sure that their states are the way that we want them. The "drums only" state is we want these three drum channels up here sounding but we don't want the bass channel sounding, so we turn of the checks for the bass channels, and since that's all that's connected to the mixer, we hear no bass whatsoever.

To bring the bass back though, we go over to the "bass only object, we turn off the drums, and then connect it to the system. We do this in a different order; I just did it this way. There we go. Bass is back and bass is on its own channel; it's on channel 2. If you mute the drums, the bass continues to sound, and that leaves us open to insert, let's say a -- you can just say insert after an effect, something goofy like a flanger, bring the feedback down a little, and then go back to the mixer, unmute the drum track, and now we got kind of a trippy bass line to go with our basic drum track and we've got control over the two groupings of sources. The bass and the drums have been effectively segregated because we simply took what we started with and cloned it and adjusted it a little bit and just threw it into the space. Because this is a modular space and there's basically no limit to what you can stuff in here, that's just the beauty of a modular synthesis or modular audio application: just a virtual space and the fact that you can take the architecture of these modules, or rather take the architecture of the program and trick it into doing what you want it to do by cloning little pieces and putting these pieces where you need them to go and making their own behavior, making the pieces' behavior be a little different from the parent of the clone.

So, I'm Rob Warmowski for Gearwire.Com. I'd like to thank you for watching this screencast. Watch Gearwire.Com in the future for more features of the great Audiomulch application. Thanks a lot.