shareddreams

Meet the Music and Sound Oscar Nominees, and Learn from Hours of Info from Sonic Masters

Shared dreams, indeed: welcome to Hollywood. And in 2011, the music and soundscapes of blockbuster films suddenly seem very much like the future of our dreams, from ground-breaking surround sound to interactive music to scores combining low-fidelity and high – and one breaktakingly-terrific score from Trent Reznor and Atticus Ross that stands on its own. The Internet, as the subject of one Oscar-nominated film, is full of short attention spans and flirts, social dysfunction and lust. But there’s another side of the Internet. Someone interested in finding expressive inspiration, in learning the craft of music and sound, can virtually apprentice …

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mixbusupclose

The $79 Virtual Analog Console, Now on Both Mac and Linux: Harrison Mixbus

Harrison is a company with a rich legacy in high-end consoles. Mixbus, their software product, is something of an anomaly. Its analog tape saturation, EQ, filter, compression, and mixing should be sold a la carte for a few hundred bucks each, given the usual business model in this industry. The product should run on some proprietary DAW, and should definitely come with a hardware dongle. And it absolutely, positively shouldn’t run on Linux, because everyone knows you can’t sell a product for Linux. Instead, Mixbus sells for an intro price for US$79.99. You get the whole package: an entire DAW, …

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A Stunning Live Performance on Roland’s 1996 Workstation, VS-880 (Bonus: MPC3000!)

From comments (thanks, Charlie Cowper!), here’s a live performance by Japanese electronic artist Rei Harakami on nothing more than a 1990s-vintage multitrack digital workstation, Roland’s VS-880. (The VS-880 was introduced at NAMM in January 1996.) Harakami is a virtuoso on this machine, not simply playing back tracks but dancing through menus and settings and adding live mixing and effects. It’s a mix performance, yes – but it’s a seriously impressive one. And it shows how much this now-“vintage” machine can do, even with some simple parameters. I’m almost afraid to mention the VS-880, lest we get an arbitrary direct translation …

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BBQ Chicken Ambiences, and Ten Other Inspiring Sound Design Stories

Whether your trade in audio is in soundtracks for screens and games, or you’re just exploring strange, new worlds and seeking out new life and new timbres in your music, the discipline of sound design is as rich and deep as cooking. It’s something you can do every day. Okay, now just put that “cooking” metaphor out of your mind and steel your stomach. Sound maker and dirt bike rider Jim Stout of Austin (Roland, Sound Ideas, The Hollywood Edge) does some ungodly things with raw barbecue chicken and dog food. For more on Jim Stout, check out the exclusive …

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Interview: Sound Legend Paul Frindle, and a Story Behind the Digital Audio Revolution

Photo (CC-BY) Liz Bustamante. Ed.: Make no mistake about it: digital sound tech, from mixing to processing, has evolved to a fidelity on par with its analog predecessors and opening possibilities well beyond what they offered. But the making of that evolution wasn’t easy, and it was more than a technical challenge. You can thank the creative spirit of people like Paul Frindle. As contributor Primus Luta explains to CDM, his work is about more than just engineering or tools – it’s driven by creative, musical energy. -PK Author’s note: I wanted to bring this piece to the CDM audience …

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A Blog Focused on Sound Design, Special with Game Sound Veteran Rob Bridgett

Designing Sound, as the name implies, focuses entirely on the craft of audio from film to games. While there are industry-driven sites devoted to the topic, this blog is entirely the labor of love of composer and sound designer Miguel Isaza, whose writing has also appeared on Spain’s Hispasonic and Monofónicos. (Miguel also tweets to Reaktor aficionados as reaktorlovers.) That personal perspective has imbued the site with the feeling of artists talking to artists. http://designingsound.createdigitalmusic.com/ All week, Designing Sound has focused on Rob Bridgett, who has worked on numerous sound designs for games. Despite the massive growth of the game …

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In-the-Box Mixing, Analog Console Style, on an Open Source DAW

Marrying open source and commercial development, or trying to bridge analog consoles and computers – either task on its own might seem improbable. But yesterday, a newly-announced tool promised to bring together all those dimensions. Ardour is the free and open source Digital Audio Workstation software for Linux and Mac. It’s widely underrated and has some terrific architecture underneath, with tools that are maturing at a healthy pace. Harrison is not an open-source developer – they’re a commercial manufacturer of analog and digital consoles and do proprietary DSP development. Conventional wisdom says the two shouldn’t be able to work together, …

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Record Beta: We’ve Got Invites, Thoughts from a Superfan

Given the passion of the debate, it’s easy to forget that Propellerheads’ Record has been firing up discussion from many people who haven’t actually seen it. Record is to audio recording, mixing, and mastering what Reason is to synthesized sound, and for Reason lovers, it finally delivers that holy grail – multiple racks. Record is a bit like Reason Studio, taking those instruments and giving them a full production context. Since its release, Propellerhead has amplified polarized opinions about this tool. It doesn’t support plug-ins (though you can use other ReWire clients), it doesn’t do things like film scoring, and …

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Record Your Session to the Web: Indaba’s Online Recording Studio Launches

What if you could record directly online from a Web browser – no additional software needed? It’s not a new idea, but online music community Indaba has an interesting new Java-based tool that gets one step closer. We took a first look at the tool last month, but it’s now publicly available at indabamusic.com today. Indaba shared with CDM some video walking us through the feature set, and the company founders also answered some of my questions. For the musicians in the audience, we’ll have some more hands-on time with this tool to see if it’s something you can use. …

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