24.11.16

A Composer's Guide to Game Music by Winifred Phillips




A wonderful and inspiring book by a "superstar of video game music". Art and craft shown here are applicable to any kind of composer, and the book is full of tricks exploitable in any field of music composition. The author also has a great cultural perspective: you will discover that Cage, Risset and Berlioz can draw inspiration for the music of the bloodiest games. Last but not least, there are great advice on the business-aspect of a game composer's career.
The book was described by The Boston Globe as “the first book designed to help experienced musicians brave the transition to the world of game composing," and was hailed by Sound on Sound magazine as "partly educational and partly inspirational… a great introduction to this specialist art." Music Connection Magazine added that "Phillips' hands-on insights and advice make this one a keeper," and Film Score Monthly praised the book as "a touchstone academic achievement."

Check out Winifred Phillips' great Gamasutra Blog, which contains additional material useful in reading the book.



18.11.16

Karlheinz Stockhausen - Mikrophonie 1 - Film 1966



Structuralism and Randomness. The contradiction at its best. Every great artist is a Joker. 

Performed by Aloys Kontarsky, Alfred Alings, Harald Boje, Johannes G. Fritsch and Karlheinz Stockhausen 

Directed by Francois Béranger 

Groupe de Recherches Musicales


16.11.16

Roland SH-101




"The SH-101 is very cool, especially for techno, drum&bass and ACID! It's a monophonic bass synthesizer. Its sound lies somewhere between the TB-303 and a Juno bass sound. It has a lot of simple but cool features. You can control the VCF, pitch, LFO or all from the pitch bender. It has a white noise generator, arpeggiator with up, down and up/down patterns and a simple real-time sequencer. The LFO offers random, sine, square or noise waveforms. And normal or auto portamento effects give you that elastic bass sound. There are external clock inputs for the sequencer and arpeggiator, CV/GATE inputs and outputs and a CV hold pedal. It is used by Orbital, Future Sound of London, Überzone, The Prodigy, 808 State, The Grid, Cirrus, Eat Static, Jimmy Edgar, Apollo 440, Devo, Union Jack, Luke Vibert, Dirty Vegas, Josh Wink, the Crystal Method, Aphex Twin, Astral Projection, Les Rythmes Digitales, Sense Datum, Squarepusher, Sascha Konietzko of KMFDM/MDFMK, Freddy Fresh, Lab-4, Nitzer Ebb, the Chemical Brothers, Boards of Canada and many more." 




14.11.16

IRHT COMPARATIO medieval music manuscripts database

Nulla talis comparatio est, sed sunt lapides pretiosi in illa.


The new database by IRHT (INSTITUT DE RECHERCHE ET D'HISTOIRE DES TEXTES), COMPARATIO, relates to the liturgical chants of the Office, preserved in latin medieval manuscripts. Its particularity is to give not only the text, but the music of these songs. They are transcribed from manuscripts of various origins because the singing of the Office is significantly less standardized than that of the Mass: the different regions and the different religious orders present significant variants, both in music and in the text. The study of these variants thus enables the reader to direct his research towards this or that origin. Each song in this database - currently about three hundred - is documented on average by about twenty transcriptions extracted from manuscripts originating from France, Germany, Italy and Central Europe.





8.11.16

Stringed theory

Visualize precisely how and where the soundboards of instruments vibrate, using holographic interferometry.

Low frequencies

Higher frequencies, distinct patches

Even higher frequencies, smaller and smaller vibrating patches




3.11.16

Oberheim Matrix 1000



"The analog Matrix 1000 is essentially 1,000 Matrix 6 patches in a single-space compact rackmount MIDI module. It has the same synth architecture as the Matrix 6. Each of its 6 voices have two DCO's (digitally controlled analog oscillator), a low pass filter, 2 VCA's, 3 envelope gens, 2 LFO's, and 2 ramp gens. The sounds are plentiful and good enough, however sounds can only be edited via MIDI, so you'll need an external MIDI editor (such as MOTU's Unisyn) or Access' Matrix Programmer to edit parameters. You can also load sounds from the Matrix 6 via SysEx or software. The Matrix 1000 provides an excellent source of pads, textures and ambient sounds. It has 195 "keyboard" sounds, 118 "strings", 130 "woodwinds & perc", 239 "synthesizer", 119 "bass", 74 "lead" and 125 "effects". For the price, there is no better way to find genuine analog Oberheim Matrix sounds in a compact and very in-expensive rack module that is loaded with more sounds than you'll ever need! The older versions of the Matrix 1000 have a black front-panel. The newer models in the '90's have a cream colored face-plate. It has been used by Apollo 440, Juno Reactor, Moby, Cirrus, Fatboy Slim, Laurent Garnier, ATB, Depeche Mode, Future Sound of London, Pet Shop Boys, and Faithless."

Via Vintage Synth Explorer.