My Thesis “Die Simulation des akustischen Klaviers in der Musikproduktion” is now published by VDM-Verlag. You can buy a copy at amazon.de. German language only – but here’s the english abstract:

This paper focuses on the possibilities of piano simulation in the current production of music. It begins with a discussion and analysis of the technical development, functionality, and sound production of the mo- dern day, acoustic piano. Next, it examines the method of multi–sampling for piano sound reproduction. Following a definition and historical recapitulation, it analyses the approach of using multi–sampling on the basis of current software products and takes a closer look at a specific example. The second technique analyzed in this work is the sound production approach of physical modeling synthesis. This simulation technique uses a computer generated mathematical model to simulate the laws of physics of a musical inst- rument – in this case the piano. A summary, historical review and an explanation of the technique provides a basic understanding of this process. An example, using a theoretical model, demonstrates the complexity of problems inherent in this process. The only existing software product currently available on the market is analysed in terms of possible applications. The intention of this work is the following comparison of the pros and cons of the aforementioned piano simulation methods. Finally, the appropriateness of the tech- niques will be discussed in the conclusion.

Michael Bierylo, teaching Music Synthesis at Berklee, takes a look at raster-noton. Check out the full article here.

Scenes and styles in general are often associated with specific labels. While there are a number of artists and labels that one might categorize as IDM(Intelligent Dance Music), Warp Records is recognized as the mothership of that particular genre, being the home of artists such as Aphex Twin andSquarepusher. To me, one of the most interesting things happening in electronic music right now is minimal noise techno, and if there’s an aesthetic motherlode for this music, it’s Raster Noton. The label was founded by three like-minded German artists, and came about through a merger of Olaf Bender and Frank Bretschneider’s Rastermusik and Carsten Nicolai’s Noton labels in 1999. The three are active performers, Bender as Byetone and Nicolai as Alva Noto. All three come from a background in visual arts, and visual presentation is a strong component of Raster Noton releases, as well as their artists’ performances.

I know – a little bit too late, but still interesting.

Musican/composer Mark Mothersbaugh (Cloudy with a Chance of Meatballs, New York I Love You, Nick & Nora’s Infinite Playlist) discusses the musical scores of each of this years nominated films.

Those crazy cats at OK Go are tugging at our heartstrings yet again, with the release of a brand new video for the song This Too Shall Pass. It takes the Rube Goldberg machine concept to another level completely.

via [Gizmodo]

Axis of Awesome shows us the secrets behind all pop songs ;)

via [audiotuts]

Just upgraded to the newest worpress version – 2.9.2.

Everything should be back to normal now…

Heavy metal has evolved visually as well. Gone are the fantasy illustrations of radioactive zombies and band logos composed of overlapping swords. After a generation of sprouting subgenres, the heavy metal field is littered with a diversity of styles that even the most hardy metalhead will have trouble encompassing.”

Read the full article on printmag.com.

via [swens weblog]

Acoustic Botany, by David Benqué, extracts Synthetic Biology and Genetic Engineering from the usual context of health care, food and environment and examines instead the role they could play in the sphere of culture and entertainment.

via [we make money not art]

Peter Caranicas posted a great articel on two different sound editing approaches:

On that day each was nominated for two Oscars: sound editing and sound mixing. Boyes drew the mentions for “Avatar,” Ottosson for “The Hurt Locker.” Plus, each has the same triple credit: sound designer, sound re-recording mixer and supervising sound editor.

Yet the work of these two seasoned film sound professionals on this season’s contenders couldn’t be more different.

Read the full article here…

via [variety]

Wired has some nice videos about the making of avatar: Sound Design, Score, Pre-Production, Post-Production, Motion Capture and so on…

check out the videos here: Wired