Sure, it’s a Spaghetti-Western-inspired soundtrack to the hit Rockstar game called jokingly by fans Grand Theft Horse. But to me, a richly-composed musical score for a blockbuster video game sums up a lot of where music production is at these days. Composed by Bill Elm and Woody Jackson, Red Dead Redemption gets a score that blends Western authenticity with more experimental ambiances. We get a first glimpse of that process with a behind-the-scenes video released by Rockstar (and reproduced on CDM with permission) this week.

Watch past the boilerplate voiceover as they get into the production, and you’ll see some glimpses of real gems. Aside from harmonica legend Tommy Morgan, they’ve got themselves one seriously wonderful collection of odd instruments. (There’s some of the organic, decayed instrumental sense of Diego Stocco here, who with Hans Zimmer made the rusty clang and bang of Sherlock Holmes last winter.)

What’s this got to do with digital music? In the post-sampling age, even the oldest, most broken-down sound can become digital. And old, entirely acoustic sonic tricks are being rediscovered by today’s generation. Sometimes it takes years behind sound-alike convolution reverbs to convince you that what you should really do is just play into a kettle drum.

There’s also a new approach to composition necessitated by games, which ironically brings game scoring – itself inspired mainly by film composition – in line with techniques associated with electronic music and DJing (stems, loops, and the like). I don’t think any game has yet mastered the challenge; game industry workflows, technical limitations, deadlines, and the sheer enormity of having to re-learn compositional narrative in interactive contexts all conspire against that. But an open-ended Old West playground seems a good place to begin.

I hope to have more with the makers of this score soon, so if you have questions or ideas, let us know.

Cellular AutoMidi is a generative music making app, making use of a modified version of the ever-popular Cellular Automata algorithm – a simple evolutionary model on a grid that works nicely for sequencers. (See, among many others, Lazyfish’s legendary NEWSCHOOL for Reaktor, and Audio Damage’s Automaton.)

Cellular Automata is nothing new, but here, you get to see it as an AIR/Flash app, which means a modular CA-based creation you can drop anywhere. (More on the cross-platform details after the jump.) And hey, if we can have countless step sequencers, why not countless cellular automata step sequencers? The project is developed by Leeds, England-based Flash developer Lawrie Cape.

It also deserves special mention for some nice sounds made with NI’s Massive synth, using FL Studio as host; see the video.

Cellular AutoMidi – Generative Audio Flash AIR App from Lawrie Cape on Vimeo.

Lawrie writes:

For those of you just joining us, Max for Live is an interactive environment that incorporates the full Max/MSP/Jitter inside Ableton Live, with the addition of hooks that allow it to integrate with and control Live, and to make Max creations look like Live devices. Individual artists have begun using Max for Live, and we’ve seen some free downloads, but less of its use as a development platform. The problem is, your target audience must own both a full version of Ableton Live 8.1x or later, as well as the paid Max for Live add-on.

Max Fuel from Ableton soundhouse Puremagnetik nonetheless reaches out to just those people with a US$38 bundle of instruments. While they’re Max for Live devices, they’re not editable. (This demonstrates that it is possible to lock down patches made in Max for Live. An earlier draft of this story got this exactly wrong.)

Unfortunately, that means in a way, you get the worst of both worlds – you have to buy the development environment, but then you can’t use it to see what’s happening inside the patch. For projects like this, it seems some sort of “player” for Max for Live is badly needed. It could still be a nice pack of stuff for existing M4L users, though.

Here’s what’s included – two instruments:

• Bump – A mono synth with a generous, easily controlled feedback section
• Stick – A drum instrument based around classic FM synthesis, ready for use in Drum Racks

…five audio effects:

Drop – A multiband device where each band receives a percentage chance of being heard

Jumble – An audio processor with the same delay/feedback portion as Bump

Marx – A rebranded Spectral Mixer, setting different volumes and interactions for the signal’s quiet, mid and loud portions

Veer – A flexible pitch shifter with a dry/wet control for the output.

Yell – A rich multiband distortion

…and three control devices:

• el Effo – A versatile low frequency oscillator/step sequencer
• Multiplexd – A single knob that proportionately controls up to 4 plug-in parameters, simplifying automation or MIDI control of multiple parameters
• Side Chainer – A robust converter of any audio signal into a modulation signal

When it comes to software sonic goodies, loads of virtualized gear you can add to the digital, computer-based studio, Komplete is one of the deepest boxes out there. Komplete 7, announced today, is the latest edition of Native Instruments’ bundle of virtual studio software. As always, that means a refresh of what’s in the box to recent upgrades of synths like Absynth, FM8, and Massive, plus drum instrument Battery, guitar effects and amp simulation Guitar Rig, and the modular creation powerhouse Reaktor.

In addition, though, today’s Komplete 7 announcement brought some new tools to the table, as seen in the image gallery above. (Click on the thumbnails for a closer look.) They include a number of surprise effects announcements, and one less-surprising – but intriguing – synth for the new release of Reaktor from NI’s sonic scientist-in-chief.

• Reaktor Prism is a new “modal synth” created by NI founder and Reaktor creator Stephan Schmitt. Stephan walked me through Prism when I visited him in Berlin earlier this summer, and I have to say, it’s one of the software releases I’m most excited about – Stephan’s ideas about synthesis are always refreshing and inspiring. It makes a lot of use of the new objects in 5.5. It’s hard to describe, so stay tuned for more on it soon.
• Reflektor is a “zero-latency” convolution engine for simulating reverbs and other effects.
• Traktor’s 12 brings some of the effects from Traktor into producer’s hands. That’s good news, because some of Traktor’s far-out and granular-based timbres seem a natural for non-DJs.
• Rammfire is a new amp emulation developed with Richard Z. Kruspe of Rammstein.

While some standalone instruments and effects had been casualties of a trimmed Komplete suite in previous releases — Spektral Delay, Vokator, B4, and Akoustik Piano come to mind — those are replaced in this version by the addition of extensive soundware for the remaining flagship instruments. Scarbee Vintage Keys and MM-Bass, Abbey Road 60s Drums, and the Classic Piano Collection more than make up for the omission of dedicated piano and organ instruments, folding these instead into the consistent interface of the Kontakt and Battery samplers. Vintage Organs becomes the new replacement for B4, or as an NI spokeperson described it to me, a “spiritual successor.”

More interesting, you also get some more unusual instrumental creations: Reaktor Spark (also by Schmitt), Tim Exile’s insanely-brilliant performance effect The Finger, and the sonically-adventurous Acoustic Refractions.

So, that’s what’s new in terms of new stuff. But the new Komplete also represents some shifts in strategy, ones that mean cheaper access to sounds for those who don’t want all of the editing capabilities. That shift goes beyond even previous player and Kore soundware from NI.

Jon Hopkins – Vessel (Four Tet remix) by Four Tet

Angel Echoes (Jon Hopkins remix) by Four Tet

London-based Four Tet, aka Kieran Hebden, is a genre all his own, a maestro of electronic sounds and a superstar on Domino. He’s…

Actually, you know what? I can’t really add a whole lot of intelligent commentary to this treasure trove of tracks Four Tet has added to SoundCloud. It’s time best spent listening, which puts me in a happy, wordless state. (And, I might add, reminds me to work on my chops. See if it has the same effect on you?)

http://soundcloud.com/four-tet

Any question as to whether free tracks on places like SoundCloud will dampen demand for purchasing music ought to be easily put to rest; to me, they only whet my appetite for more. (In fact, where are even paid links to higher-quality downloads? Only a couple of mixes are available. I’d gladly pony up for this whole set.) Here, Four Tet remixes Jon Hopkins – another English virtuoso of rich, digital sounds – and Hopkins remixes Four Tet, and Caribou and Mosca remix Four Tet, and Four Tet plays live here in New York at Le Poisson Rouge. Premium-quality productions, all.